Purpulan

"What to do in Denver when.....?" You move to Texas and find out if "Debbie does Dallas" is for real!!! But what happened to Bambi Woods??? Mmmmh, however, we have differing opinions on noir, it’s rather funny (more Joel Coen than Tarantino, and that’s a compliment), but we are far from the genre masterpieces of Raul Ruiz.

On the Oakland combo, "Through Silver in Blood" is definitely the best of their first productive decade, as well as the first album I listened to, but it still sounds quite "metal" for my taste... I prefer them from "Times of Grace" onwards (and to think that I have always had strong reservations about Albini's analog monomania!), moreover, of their last four (so to speak "official") "A Sun that Never Sets" is the one that seems most like a transitional work to me (even if it is probably the most tribal/percussive), the least conceptually focused, in short.

@Joyello: I hope you manage to read this (I've had issues with my connection this week), anyway, the tone of my posts was rather light-hearted, so they shouldn't be taken too literally (or at least interpreted with an ironic twist). The "indefinable entity" is a little joke derived from Luca's report (the main organizer) who I assume contacted you (well, I usually reach out to the performers I get assigned over the phone). I want to reiterate that having you as an actual participant would have pleased all of us. We are now starting to organize for the next edition (hoping not to find ourselves in a tight spot like last time, which turned out really well in the end), and I sincerely hope to hear back from you (maybe a bit more defined in terms of availability ;). Best wishes, and I apologize if my sentences came across as cheeky (which they are not!).

@ lux: the comparison with Neurosis in "Celestial" can certainly be addressed. The almost complete detachment I mentioned with "Panopticon" is relatable to the contemporaneity of "The Eye of Every Storm," which, paradoxically, is the most "atmospheric" among their releases, but here the overall sounds really diverge. "In the Absence of Truth," on the other hand, decisively shifts the terms of comparison towards the other entity that, according to most, coordinates Isis’s path, and I’m obviously referring to Tool... I mean (structurally) the songs approach the song form in a more sensitive way (even if the lyrics consist of 2 or 3 phrases when they're in a grandiloquent mood). @ Salmacis: Aaron's drumming, on the other hand, is perhaps the most hardcore characteristic of the combo; with the necessary distances, it reminds me a lot of Abe Cunningham's percussive style from the Deftones: powerful yes, but very dry and sharp, even in the more rhythmically intense moments.

Double damn, I hadn't figured it out until the end, earlier!!! And alright, the references to "Atziluth" or if you prefer "Etenamenki"... but you've thrown in "etimasia" too?! Would you be a gnostic or a messianic, dear BisiEL??!

"You could have written 'Logos' in Cyrillic, or Phoenician, or Etruscan... or Aramaic. Damn! This is the first review of Isis that I come across 'in real time' on Debaser, and it’s about 'Celestial'!!! Back then, I much preferred Neurosis... with 'Panopticon' they matched 'The Eye of Every Storm' (which remains my favorite from Von Till and the guys)... while 'In the Absence of Truth' is unbeatable! It would be a three and a half for both, but I'm feeling generous!"

Uh, I hadn't read Mike76's joke...

I play the "centrist," which, with all these extremist followers, requires a good dose of "courage," and, as the title suggests, "non rottibilità"...of balls.

Beautiful then the Italian title, right?! "Libero" referring to one of the most famous works of the award-winning duo Buñuel/Carrière...after all, our shrewd distributors/adapters already knew they were dealing with what would become "the greatest Spanish director after Luis"...yeah, sure!!! Carmen Maura is nice too, but the actor/actress fetishes just don’t appeal to me! Well, I don't vote!

"Incunabula" may only "sound" a bit outdated, but in terms of structure and stylistic definition, it is an epoch-making debut album; practically all of their output from the Nineties follows in the wake of this work (the main changes are in taste and the prevailing rhythmic solutions, becoming increasingly less derivatively "techno", while the only publication that is essentially "off track" is "Chiastic Slide", which I personally consider their true masterpiece post-"Incunabula").