Rooftrampler92

The usual mush of melodic rock disguised as "grunge" due to the 7/8 time signature and the singer's big voice. Pretty ugly, like the rest of their discography.

Well, look, I more or less agree, but for example, Battles (the only band I know well among those you mentioned) do have their peculiarities, but they are still derivative musicians, heavily tied to what has been done so far by post or math groups (whatever that is).

I'm trying to do my best, I say it quite a few times, but the problem is that I'm a minor, I'm not a magnate and I don't steal, and peer-to-peer is the only remedy to satisfy my (destructive) need for music. It's hard to try not to listen to music because, surely as you shoot better than me, passion is like a drug you can't live without. So to each their own, I will feed on bread and mp3s (even records, as far as I can go) until I turn 18, fadigo (as we say around here) and save up some cash. And as for the record, if you say so...

And then, just between you and me, and based on how much I "know" you from your posts (very little), I’m pretty sure you didn’t even dare to listen to this album, completely out of your taste… Don’t take it as a statement; it’s just that, even if you had listened to it, you definitely wouldn’t have wasted your time on it, and I think you would have completely dismissed it.
Ah, well, if this is what being illiterate means, then I’d rather go back to the Middle Ages with people like me, yes, really, reading Dante, who, by the way, produced quite a bit of rubbish too (with all due respect to the genius).

Oh come on, it’s like this, a bit of seriousness, not realizing the crap that rules now only means relying on the past, damn, I’d rather find something "new" (strictly in quotes) than feel 100 times "Good" by Morphine because I can’t find anything that’s relevant today (and that’s pretty much what I do, even if in words I try not to admit it).

@psycho: maybe it's because, with my high school years (the worst years you can imagine) behind me, I started studying philosophy and I've been enlightened, or rather, darkened by the truth :D. Enough of the nonsense, the growth of a critical spirit is becoming more evident to me as time goes by, and I'm realizing it more than ever. The problem is that with mental growth, you increasingly realize how awful reality is, especially today, and a tangible, albeit minimal, proof of this is the fact that, as lux says, we sift through past masterpieces to avoid thinking about the filthy stuff that’s going on right now, and there’s so much of it, too much.

@Easycure: I don’t doubt what you say, especially since you likely have a culture that is more experienced and broader than mine (I’m sixteen), but I can say that there have certainly been countless bands in this 2000s that mimic Joy Division and the like, as you mentioned. The problem is also a somewhat heavier and more difficult issue: what can you invent, after music has seen everything, from classic rock 'n' roll to post-rock that completely transcends it? I also discuss this in my review of Deathconsciousness by Have a Nice Life. The problem lies right here; since 2000, I haven’t heard a band that isn’t at least somewhat derivative. Artists indulge in revival precisely due to a lack of ideas (with some exceptions), not due to skill or creativity, because today it is incredibly difficult to be revolutionary, seminal, to churn out masterpieces (tell me, have we seen masterpieces in this decade? There have been some great albums, but to go so far as to call them masterpieces is another matter). The point, in my opinion, is this: in the prevailing stale revival that is today's music, I can say that an album like Turn on the Bright Lights is one of the most honest to have been released in the last ten years. There are ten thousand other bands doing similar stuff, for example, take Killer and Franz Ferdinand, bands that I think also have a certain technical and qualitative preparation, but they don’t give me what Interpol gives, and I think it’s a similar case for everyone. Why is this? Because, beyond being derivative, beyond the standard canons dictated throughout the history of rock 'n' roll, beyond barriers and labels, it's an album that you may not appreciate, but it stands out for certain melodic constructions that are not only relevant in terms of arrangements and walls (I don’t understand how you can say it’s irrelevant; honestly, it’s been a long time since I’ve heard a bass like Dengler’s in Untitled, which deeply penetrates the rhythm of the drums, giving a unified, dynamic, and compact rhythm—give it another listen), but it conveys something that is not shrink-wrapped and packaged music, but palpable and alive music. And I don’t know if you’ve said certain things out of stubbornness from a preconceived judgment then contradicted by your own bias, or perhaps because you truly don’t appreciate it. What I’ve said serves only to open the eyes in front of music that today has nothing purely sincere about it, and this is a fact. The golden age is gone.

I don’t know what to say, I agree with you, but it’s useless to indulge in false hope in light of what we've seen in this decade. By now, music, like many other things, is facing an end, which, whether near or far, looms over us. Unfortunately, it’s hard to imagine that anyone could completely resurrect it, revitalizing it by inventing something modern that doesn’t straightforwardly reference the past. Post-rock was already a remedy for the scarcity of traditional rock 'n' roll, which was beginning to feel like an archaic relic covered by more or less attractive revivals, let alone today, after post-rock, with everything behind us and nothing in front of our eyes. I don’t know what else to say.

Review of a strikingly mundane nature, which explains little or nothing about the book in question.

in terms*