Rooftrampler92

You are wrong about the idea that not many people cared about it. The previous This Bliss stood out in the European techno scene, an album that, in addition to its personality, boasted an excellent level of creativity from a melodic perspective; creativity that does not disappear in this one, but in my opinion has less impact and remains less graspable.

It's the greatest Scorsese I have ever seen. The non-life of an alienated and confused man, his obsessions, his frustrations. A film that is never old and more modern than ever, it shows how sometimes it's too easy to get lost in life, masterful scenes that truly set a standard. You could have spent less time on the plot, but the final commentary is good nonetheless, and I agree, deservedly a cult classic.

I think exactly like the review. A metafilmic masterpiece by Lynch and a soundtrack that defines the entire film. You can't fully appreciate it unless you watch the film first.

I wouldn't even call their sound a classic; let's just say there are those who have tried, without any decency. Oh, let's be clear, you're talking to someone who considers them absolute greats, and Sandman is my favorite bassist. Otherwise, it might seem like I'm trying to belittle them.

Instead, I would say that Sandman also takes on the role of guitarist, because the bass also plays the melodic part. You could argue that any bassist does not limit themselves to the rhythmic part, but Sandman, without a guitar in the band, often finds himself (with magnificent results) creating melodies like a guitarist.

The revolution you're talking about is purely a formal revolution since the bass in Sandman in Cure for Pain also takes on the role of the guitar. Cure for Pain has always seemed to me more impersonal compared to that masterpiece which is Good, precisely because it hasn’t maintained the same musical economy; it’s a more formal, more classical, and traditional album. One cannot say that Morphine have made fun of thirty years of rock, as they are deeply influenced by the entire tradition; and yet they are unlike anyone else, not because they are free from genres and stereotypes (there's no doubt the influence of black songwriting from Cohen to Cave passing through Waits, not to mention that at the same time, on the English front there were the Tindersticks) but because they have inevitably created an exclusive sound. As for the revolution in formal terms, I don’t think they can afford to mock thirty years of history in this Cure for Pain; on the contrary, quite the opposite. The same cannot be said for Good, which had battered the blues tradition creating a sparse and spartan sound, but warmer and livelier than ever.

ILM_IGLIORE: just imagine, I've written crappy reviews that ended up with an average of 4 or 4 and a half. Reading them again now just makes me smile ;D.

Certo, inviami pure il testo e procederò con la traduzione.

The review, aside from the good introduction, is an indigestible mess of damned stereotypes and especially adjectives (or rather, let’s put it in Baroque style, “concettini”). Although I prefer the spasmodic and convulsive outburst of Fun House, this is an enormous record, the most destructive punk ever produced. And before punk.