Rooftrampler92

This decade has seen a revival, a revival as the only remedy for the lack of ideas. It’s clear that, as time goes by, it’s increasingly difficult to compose something stylistically original that doesn’t feel already heard. We’ve reached the most derivative approach possible (pun intended), and either we integrate with the past, trying at least to enrich it, or we deconstruct to extract from music a post-music (what post-rock initiated in the nineties). The post post-rock is unimaginable in terms of ideas, and I can't even fathom what awaits us in the coming years, given the almost spent decade, in which we haven’t seen masterpieces or seminal works, only nice albums—interesting, beautiful, but never revolutionary. And I don’t think it’s a matter of unity or coherence, because, aside from economic issues and the necessity to appear, to promote oneself unnecessarily, and to make music that pleases rather than music born from identity, there’s a difficulty in inventing, and so far, no one has shown a turning point.

I had looked at Kranky some time ago, a great label, and I had already listened to some of their stuff (Deerhunter, Pan American, Labradford, and To Kill a Petty Bourgeoisie, all solid bands in my opinion). I hadn't come across these kraut maniacs; if I find them, I'll download them.

*excuse me for the 20008, I have the habit of time traveling and by now...

Best album of 2008, as far as I'm concerned. Maybe there's a lot of praise surrounding it, but the concept deserves it, especially considering that it's a debut, and you don't often see such cohesive concepts in debuts. Clichés are abundant, but what do you expect to invent in these nefarious 2000s? I don’t agree that the album brings fresh air: shoegazing and similar sounds have been making a comeback for a while now, but here there’s perhaps that industrial attitude that sets it apart from the others. Still, I consider it an excellent album, the best of the year.

The review is more than good; it also has a touch of originality. The album is chilling: I've never encountered so much music that just doesn't sit well with me. "Great Dj" is salvageable, but the subsequent tracks are truly nauseating, and in my opinion, "That's Not My Name" is the worst of the whole album.

Morgan is someone who preaches well, indeed excellently, both with his bass and with words, but he practices poorly, much like all the faux amoralists who are actually truly amoral.

"Message in a Butthole," just from the title, this one looks promising...

I agree with almost everything you say; "Day & Age" is an album that, on one hand, embodies a certain stylistic maturity and growth, but on the other, it feels more lackluster, and perhaps, even though the personality is still there, it comes off as more "cliched" than the others. And this is where I want to get to: Why should a band that has created classy touches like "Mr. Brightside" or "Sam's Town" limit itself to stereotypical refrains like that of "Dustland Fairytale" or the rhythm of "This is Your Life," which, by the way, if taken individually and removed from the context of the Killers, would still be a decent song? I conclude by saying that this album feels more lackluster compared to the previous ones, in the sense that the talent is evident here too, and there is also a consolidation of ideas, but I preferred the compact immediacy of Hot Fuss, or the baroque rock of Sam's Town, even though it did suffer from a heaviness in arrangements and melodies.

As far as I'm concerned, I've always considered Bluvertigo a good group of people who know how to play, but when it comes to albums, they haven't really delivered anything exceptional. Partly because, in my opinion, they’ve never truly been a cohesive unit (sure, they’re a good band, but their sound lacks significant coherence, in contrast to Morgan's ideas, which he has often contradicted in practical terms, even though what he says is mostly right). "Acidi e Basi" is filled with ideas, but it’s rather bare; the sound isn’t dynamic, perhaps that wasn't their intention, but back then they certainly weren't focused on sound and musical elaboration. Nevertheless, it’s music that leans towards melody, even pleasantly so; the lyrics are decent and sharp in the way I like (in this, Morgan heavily references Agnelli). The problem lies elsewhere—it's not a full and well-crafted album; it’s just pleasant stuff where you can grasp Morgan and his associates' (perhaps excessive) ideas, but in the end, there’s not much left. The subsequent "Metallo non Metallo," on the other hand, loses much less and creates more atmosphere, which is something hard to find in "Acidi e Basi."

I'm Yours isn't bad, but listening to it in the summer with the usual lifeguard on heavy rotation on RDS is heavy. Well written.