Purpulan

Not to be a "pignoletto" (not even the wine), but watch out Kosmo, because here you're risking being the Punny with "Shackleton": the "Blank Dogs" appear to be a "one man band" with a masked frontman (in the style of "Kode9", but only for the mask). What can I say about them?! Consult my (unkind) ranking of the albums that made me "sPorcare" (read: pull Porchi and waste time) in 2009 for possible confirmations and laughs (aimed at me ;). Dominick Fernow has been getting on my nerves, but if his contributions in the "easy" realm are of such nature, it's better he sticks to "Harsh Noise," at least it's there and not wasting our time. Nice review, even though it was poorly conceived... Abortions can also be treated with great style ("Evviva Satana!" Quote.).

Wow, we finally have an expert in Qabbalah on DeB!!! But why post a comment here?! Hallucinogenic jams should be left to mystics and the esoteric adepts of the short century. Why not instead share insights/studies on gematria and numerology in the reviews of Tool or Isis??!!!

With "I Can Hear the Heart Beating as One," you have the essential duo of Yo La Tengo albums to own; then you can move on to completionism, but these two are the "essentials" (and beautifully "exessential" ;).

I didn’t say that, but as you know, there are various schools of thought on the matter. And I align myself with the less accommodating currents... Like: if they had provided a control pad for every viewer, allowing them to "navigate" the ending "ad libitum," then yes, I would consider it a "metafilmic" work ; ).

...And yet of "I Remember Nothing"...

Their early productions have never really thrilled me, given that they were actually great predictions of the weird freakeries so "en vogue" in recent years. With "My Bloody Underground," I reassessed Newcombe's writing skills quite a bit, but this latest album doesn’t seem to add much to what was excellently expressed in the previous one. In fact, I fear that, once the taste for the search for "quirky" and "heterodox" quotes, skilfully scattered, fades, the overall less varied amalgam will make it decline quickly for me. In any case, from now on, I will still have a more than valid alternative to listening to "She's Lost Control" ; ) (3.5).

Mmmmmh, I will wait for screenings that don’t require a ticket purchase to take a look at it. I haven't read the previous comments and reviews, but I've followed some discussions on "eminently cinephile" sites, and I believe I can say with closed eyes, upon viewing, that I probably won't find much revolutionary here, except for the implementation of what, in the end, Cameron himself has been pursuing for over twenty-five years. That is, certainly not a quest aimed at overturning the “taste” of cinematic viewing as it has stabilized and fossilized for over 100 years (hey, nothing wrong with that, right?). But the foundations of it all are not undermined in this way: "metafilmic" is not a surplus to be placed in established realms; metafilmic is a reversal that requires a prior tabula rasa of part (and the more, the better) of what is meant by “making” and “experiencing” cinema, that goes in directions not contemplated, indeed renounced by the “orthodoxy” of cinematic language: "Hurlements en faveur de Sade" by Debord is a metafilmic work, while Derek Jarman's trilogy "The Last of England," "The Garden," "Blue" in its entirety encapsulates hypotheses of metafilmic research, among other things deliberately meant to fall into the void (and just to give two fairly well-known examples).

Damn, I wrote the same thing twice, well, I think the meaning can still be understood... it’s just emphatic ; )

Well, I approached them precisely because their live performance at "NetMage 2009" was one of the most convincing and probably the most evocative. While the advocates of certain "Harsh Noise," beyond the intrinsically expressive value and unconditional "breakaway" nature, such as "Wolf Eyes," "Prurient," and a good part of the Providence scene, I find rather naive in perpetuating productions that have nothing to add to the primal assertiveness and isolationist reductionism (in other words: they presented themselves already as a self-conclusive "manifesto of intent"), and it is no coincidence that those who truly had something to say almost immediately began to develop more evolved "sound grammars" that would allow for the further development of their own advanced language (and the case of "Black Dice" is the most exemplary in this regard).

In fact, I only know him from what I've heard under the name "Wolf Eyes"; I was wondering if as a solo artist, or in other collaborations, he might have explored some less "Harsh" territories, you know... ; )