Purpulan

Nothing wrong with dancing to Techno or House, that's their "quidditas" after all... I was talking about how things are shifting in terms of "trends" (which in these fields is always established through a policy of infiltration that is initially underground but inevitably progressive). I was referring to periods such as: "Away from the experimentalisms of Hawtin, Warp, Neo-ambient, IDM, and Gas" (and I’m not against Suonoonous, it's an opinion I've been hearing more and more lately). But personally, I start from the fact that if we're talking about "Electronics," we're dealing with something that lives (is born, grows, and thrives) in an "experimental" connotation, while the "dance" meaning is a later (or introjected) extension and somewhat surreptitious.

I'm seeing things that... frankly, all these premises for a relaunch (let's just say "trend") of square (or tetragon) rhythms, fat beats and just those "cultured snippets," just to feed the masses a "lofty aroma" (with a self-serving aftertaste), I can't really consider them encouraging. It feels a lot like a "return to order," where the order in question sounds pretty much like a cheesy: "Fill the dance floors!" The album is good nonetheless, but at "Basic Channel" you can find much better!

Uuuh, long live the stench of rotten fish from the "hard and pure": is there really anyone talking about Hardcore Punk wanting to consider it still an "ideological movement" rather than its legacy as mere "sonic attitude"?! Then why not add that this album sounds "angelically" good compared to the "damned" roughness of the Kennedys (which also means that when it "hits," it does so with much more force)??!... Of course, everything is deliberately hyper-produced and many tracks are based on the intertwining of 4 or 5 overdubbed guitar lines to achieve a curious "Shoegaze" effect! Sure, they still throw in, for the nostalgic ones, tracks like "Croocked Head," which is the same as "Crusade" (from the first "Hidden World"), and both overly mimic 90% of the D.O.A. repertoire. However, in Leonka's little cupboard, a couple of months ago, such apocryphal pieces stirred very few asses, while Pink Eyes (the big guy works as a television producer in real life, so it all adds up) succeeded much better with his fake drunk/sadomasochistic skits, at least clarifying the concept: if there are "sacred cows" even in Punk Rock, then we can easily drop our pants... and have a good laugh (but wasting beer cans like that, no way!!!!!). The album is definitely a big step forward from the debut (3.5).

@ Newromantic: but Ron Jeremy who??! The porno-hero (unlike Siffredi's chips)??! The one who even appears in the "Something for Joey" clip by the Rev??!

Mmmmh, "Ondarock Rulez" when it comes to recommended listens ;). However, I would also suggest "Twenty Systems" by Ben "Benge" Edwards.

There's a bit of breathing space, after days filled with proposals of little interest (de gustibus, obviously). However, the album in question doesn't overly convince me either at the moment: at times it gives me the impression of going overboard on the "impro" side! When (and if) I manage to reconnect all the threads of the discussions left open there, the (still very high) ratings of the good Christian will return to their standards of excellence! For now: 3.5.

..not at all..

Last spring, the "girl" was still doing odd jobs "like" a waitress! It would be nice to say that she should return to such jobs, but while she was bringing us a couple of glasses of "Toròs" and some canapés, my friend and I didn’t think she was at all the classic aspiring starlet who acts all high and mighty (in fact, as soon as she heard we were former DAMS students, she couldn’t resist the temptation to preview the "fortunes" of the film she had just finished shooting; however, she didn’t even try to pronounce the title more than once given our initial reaction ; ) (Ah! The place, just for the record, was "Opera Caffè e Tulipani" on Via Alessandrini, Bologna: nice for the back patio overlooking the Navile... "demisec" and richer in "tope" than in "tipe", the bill, though, was a robbery "d'essai", so: come one, come all!!! ; ).

I think you too, Fusillo, with your Keatonian bias, are bound to make a few missteps; here we're talking about a sought-after "avant-garde"... so I ask myself why one would have to resort to a device already codified like the subjective (if anything, as Godard later did, giving the impression of a subjective, only to reveal it finally as something else). Regarding the free associations, I would dare to say that functionally they shouldn't present an overly obvious semantic connection, but rather be quite challenging for secondary processing and thus conscious and "rational" thought. The "objective" aspect emphasized by Sora, I believe, is linked to the fact that everything here is done to negate a comfortable "empathetic" or "sympathetic" connection to the viewer, who is instead forced to carry out a rather advanced "intellectual journey" in order to avoid a sense short-circuit (a hypothesis nonetheless well appreciated by the authors, especially Dalí, who remains the main driving force behind the "Chien").

@XYZ: Excuse me, Mr. of the axonometry, I had not truly considered your taxonomies ; )