Rooftrampler92

again...enough with Vasco, it will be the fourth

Proposal that interests me, a compact and concise review. Well done.

no, I'm not a big fan of Adams. the review is more than okay

Interesting... I’ve never heard of them, very curious write-up. Read the review, don’t be fooled by the length; those who change the channel are "patatoso"!

excellent description of the film, a bit lengthy but appreciable. I have to go see it, it's been a while since I watched something good (since February).

excellent description of the film, a bit lengthy but appreciable. I have to go see it, it's been a while since I watched something good (since February).

Sorry for the mistakes, I was in a hurry. On the eighth line it says: "The distortions of the MBVs are solely and exclusively a typical expressive effect of shoegaze..."

So, lux referred to comment 99 in the review of the dismantling of "I milanesi ammazzano il sabato" by After, where Agnelli & Co. are (almost) the same old aging idiots. Those who try to climb up to then live off their past, those who imitate and take up the American musical standards from 10 years earlier, elaborating them in almost an obscene manner. He also said that Vasco isn't that far from the After. So, first of all, lux is neither completely wrong nor right. Analyzing the comment, I noticed that his opinions are not completely thrown away. In fact, Riprendere Berlino, a track from "I milanesi...", closely resembles Soon by My Bloody Valentine, and indeed, doing something like that is like shooting fish in a barrel, because Loveless is worth the entire career of Afterhours, not technically or musically, it’s just a matter of expressiveness. The distortions of MBV are just a typical shegaz effect that is difficult to both replicate nearly 20 years later and to do so from a group that is distant and mostly Italian. It is equally blasphemous, however, to compare the arrangement that accompanies the childish lyrics of the latest Vasco with the extravagant effects of "I milanesi," which make for a work that is quick, perhaps too much so, completely distinct from the previous ones. It marks somewhat of a turning point for After. As I read somewhere, this is an album that is completely playful, contrary to what some critics claim, where new and free sounds and the simplicity of the lyrics, almost the opposite of those in Ballata per piccole Iene, mix with echoes of Hai Paura del Buio and Germi. So you may like it or not. You either stand on one side or the other. lux doesn’t like it, perhaps he was attached to the works before '97 or maybe he never loved them. Honestly, I like the changes.

Alright, I'm going.

Kindly lux, could you share with me what the issues of the album are and/or if there are any possible strengths?