Purpulan

@ Boredom: obviously I used a hyperbole; Lally and Canty are a great rhythm section, but precisely in light of this, this album for me sounds still too "tupatupatupa AND LITTLE ELSE" (and the much else, later on, they will certainly showcase it; )! Greetings to you!

@ Cla: I think it's a collection of the first 2 EPs of the band (hard and pure, huh ;), and for the rest it's as you believe..."In on the Kill Taker" you have to admit is clumsier and less fortunate (on the surface) compared to the first 2 albums, but for me it’s from that point that Fugazi become an "essential" band (and I'll also include "End Hits")!

Oh, no! Alright, it made history, but in hindsight it still sounds unripe! The combination of guitars is already advanced and representative of the band’s changing style, but that’s all. The drumming here is still a tupatupatupa from '80s hardcore and not much else; the vocals also don’t please me, somewhat immature (and that’s the most annoying aspect, because Picciotto with Rites of Spring was already showing more interpretative personality). We are still far from the perfect blend of eclecticism and full expressive capability found in "Red Medicine" and "The Argument" (I purposefully skip over "Instrument," which is however stunning)! And I don’t care about the comments from the hardcore purists! (3 for the record on an objective musical scale, 4+ for its historical importance, if I really have to give ratings).

I take this opportunity for a digression: is there any Modenese, or better yet someone from Novi, around?! Recently I saw that the My Space of Hangin'on a Thread has appeared. But are they still active?! What nostalgia, they really had some qualities among the Italian emo-core/nu-metal bands!!!

Let's clear up the misunderstandings...perhaps a bit trivial but I also intended it to be irony, Psycho ; )

Oh, oh, oh! Bælla lì, Psychopömpe! That's how you do it!!!

I saw them live for the only time (Pordenone) during the tour that followed this album, and, damn, they were a machine on stage, easy-easy tracks, okay, but not even a lazy break, or a drop in intensity; after all, over twenty years it seems they've played something like 2,000 concerts (no big deal) (the cover single, however, has the "only" flaw of being less carefree than the original!).

L.A.P.D. (the name of Korn before Davis, always like this, just for the record).

Uh, just a correction for the upcoming skirmishes ; ), Devoto/Oli, my school days dictionary, and UTET, my dad's encyclopedia (but I haven’t seen it in quite a few years). Finally, I thank the numinous content of the DAMS faculty (and it’s a rare exception) for saving me from the texts of Bonito Oliva (great thinker, a guy who built an entire career just elaborating on "the pushed vacuum").

Okay, then I'll take care of making you mad ;). First of all, Burton hasn't pleased me for a while now (let's say since "Sleepy Hollow"), and this time it really wouldn't have taken much to do better than that moralizing (and complicity) disaster which is Mel Stuart's film (and obviously Roald Dahl's fable). Charlie and family, poor but good and happy despite everything, were characters that were nothing short of irritating (it's enough to make you miss the black sheep of "Sans Famille" or "Incompreso," which at least hit hard and without mercy). Burton deserves credit for a slightly more ambiguous, cynical interpretation that is less morally black-and-white! That it ends up being the usual turn toward "Gothic Novel" is another story (but in its own way, it navigates the intersection of genres better). Wilder, on the other hand, was playing up a role that, yes, was that of a seasoned character actor, but lacking any depth, a sort of demiurge/guard on the moral coordinates, a character that Burton and Depp instead turned into the "true protagonist" of the human tale (and at least we have one credible character in this film). The fact remains that I don't miss the first version at all!!!