Purpulan

Well, what about the king of gay robots: "Gaiking", where do we leave him??!... That "big horned guy", with his torso derived from the bony skull of the Space Dragon?! And there was even a vehicle named "Puzzola Spaziale" in the series! To crown the trash apotheosis, there was the opening theme: "Take Me Higher", a disco hit from the early eighties... very gay... someone told me it was the work of an obscure Austrian combo... but I never looked into it... Anyway, may the flame of Megalopolis watch over our ashes!!!

Hey, Apulici, could you translate for those not living in the Tavoliere?! I would have paraphrased the gloomy remark as: "If Paris had the sea, it would be a small beer!!!" ; ).

And also the principle of agraphia..."orEcchiabilità" ; ).

Mmmm, maybe, but a few months later everyone shouted "miracle" again when "Mezzanine" came out (which winked much more towards listenability... erm, forgive me for the narrow synesthesia ;).

I read it in some interviews of the time, although the reporters first mentioned a certain cryptic nature of the band regarding it. Nevertheless, the matter was not related to the lyrics but to the instrumental structuring of the tracks (and the theme of death is certainly not disconnected from what has been said!)

I remember that back then everyone talked about one, if not two, steps back compared to "Dummy"... I’ve always loved this album... pregnant, hazy, lyrical yet desperately sober... rich in alluring micro-shades that were lacking at debut... "Cool" in the most positive sense of the word! The "historical" compendium slightly dulls the review!

...screwy...

Never understood this extremism in comparing Muse and Radiohead... neither band strikes me as transcendental, even if the "supposed" experimentation of the Oxfordians during the "Kid-A"/"Amnesiac" period did give birth to something decent; too bad that alongside a handful of good pseudoelectronic ideas, they bastardized both albums with semi-acoustic ballads that sound like the rancid piss of a drunk...
But we're talking about live performances here, and... I happened to see both bands a couple of times... Radiohead fumbled a song here and there, and they really didn't have much energy... Muse, on the other hand, learned their craft much faster and, although they weren't free from the "sappy ballad" tax, when they rocked out, they had a certain dignity ("Stockholm Syndrome" live made me want to mosh, while the low-fi version of "Idioteque" with a disheveled Yorke, thanks to the intercession of Our Lady of Misfortunes, just froze my behind!).
So, for me, the supposed epigones, on stage, easily surpass the overrated "masters."

And I even tried to express myself in an ironic way… BLEAHHH!

Observations from INfigato non metal/gonzo:
First double review to tarnish the immaculate Debaserian pathway of the only metal band (known to me) with a terrifying mathematical background... since I have never read any thematic digressions here, I’ll make one myself, even if it's out of place! No one has ever said, for example, that the scores of "NOTHING" are the result of a numerical elaboration of the chemical formulas of carbon compounds (which, as many should know, is the basis of every living organism!), the album in question is entirely structured around the concept of the decay of a vital element, and "Obsidian" is, in conclusion, a detached confirmation of this: the song itself has a different structural significance, as it is based on OXYGEN which, while being a substantial element for the nourishment of cells, is also what causes their oxidation and thus their deterioration... the return to "NULL" would therefore characterize even the most analytical conceptions of vital processes!
Before passing judgment on the (currently) Swedish quartet, it would be wise to start probing their significance (which, mostly, they themselves avoid revealing openly)... "NULL" is, compositionally, left to "CHANCE"... in "THEIR CASE"!