Meconio

I also find that it is one of the most interesting and enjoyable albums by Mr. Rossi. It flows like a charm, never gets boring, and, above all, it contains "Tropico del Cancro"... I couldn't have asked for more. Regarding the shareable observation by Gustavotanz, I think about the innate charm of certain twenty-somethings today, the "progggetto" Negramaro above all. Who knows how they will get along in another twenty years?

you answered yourself: "really well done and well thought out." as for the rest, I'm just sorry to have offended your sensitivity. you remain the best, far be it from me to usurp that title from you.

It seems to me that everything you could ask for in a review is here: simplicity, clear exposition, and, as much as possible, no random commas. I haven't listened to the album yet, but thanks to you, I already understand what to expect.

I'm not sure if you replied to me, but that's okay anyway.
Anyway, I listened to Black Lodge again, and just to get back to where we started, it reminds me a lot of Bleed the Freak :-)

In all this commotion, the Alice in Chains of the first album had mocked us. They couldn't have cared less about showing the way to the punk kids, and they took on a new game: to become the Jefferson Airplane of the new millennium.

I allow myself the 3 PM cigarette and quickly delve into it. Still regarding point 2 (who renewed and who didn’t), I remind you of the following:
At the end of the Eighties, the Voivod had indicated an impossible path for the majority of the studded tradespeople in circulation, yet they stood as a noble reference for anyone not too busy praising Satan. At one point, coincidentally also in 1991, they released an incredible album (Angel Rat), which decisively veered away from the metal agonies and even referred back to Van Der Graaf Generator, if not to the early U2.
The Warrior Soul forgot about them all, but at that time, those who needed to understand certainly did.
On the extreme front, aside from Pantera, a few months later saw the debuts of Fear Factory and Brutal Truth. Faith No More also released Angel Dust, and bla bla bla. Suddenly it seemed that the hardcore experience had not been so useless after all, and young people were digging up the old records of Nuclear Assault.
Sepultura, who had an ear and never fell into arrogance, attempted first with the ugly Chaos A.D. (which wiped out everything that had been done up to Arise) and then with the phenomenal Roots, unimaginable without the previous debut of Korn. More or less simultaneously, Neurosis emerged, whom you know even better than I do… The new tunings were directly supplied by Kim Thayil, and the recipe for the new metal was served on a silver platter, ready to be desecrated by the latest fools.
In this delightful game of interlocking pieces, bands like Slayer still played their damn part, perhaps because they had shown foresight earlier on. Mustaine (oh dear, at least we should acknowledge him a vague taste for melody) did what he could, despite the habit of peeking into the Metallica cousins' drawers.
The aforementioned Dark Angel have disappeared, crushed by the weight of the fascinating but tedious Time does not heal. As for Anthrax, aside from Bring the Noise, we never heard from them again.

Just a moment :-)
1) Antecedents to what? They came out at the same time, and I just needed it to assume that the Anthrax had been short on ideas for a while.
2) With the exception of Slayer, all the more renowned bands reacted to the Black Album in the same way. Not only is everything on Countdown to Extinction the offspring (better executed) of Enter Sandman, but even Testament—in their bleakness—released an Enter Sandman-esque album, only to plunge into the abyss of instrumental and compositional ineptitude.
3) I’ve never said or thought that an album from that period had to be grunge at all costs, but I firmly believe that a healthy refresh of the sounds did a lot of good. Just to be clear, even Obituary understood this with World Demise... a mediocre album, but with beautiful sounds.
4) I voted 3 for the album. I don't like it, but I sense the effort to stay afloat.
5, as a footnote) Metallica in the early nineties demonstrated an intelligence and an awareness of the world that others did not have. The fact that they made almost unlistenable albums is another story. One could certainly discuss that, but I don't want to bore you further with my chatter on this chilly Saturday afternoon.

Wait a second :-)
1) Antecedents to what? They came out simultaneously and I just needed to assume that the anthrax were short on ideas for a while.
2) With the exception of Slayer, all the more renowned bands reacted to the black album in the same way. Not only is all of Countdown to Extinction a (better executed) offspring of Enter Sandman, but even Testament – in their bleakness – made an Enter Sandman-esque record, before plunging into the abyss of instrumental and compositional ineptitude.
3) I never said nor thought that an album from that period had to be grunge at all costs, but I am convinced that a healthy refresh of the sounds was very beneficial. Just to be clear, even Obituary understood this with World Demise... a mediocre album, but with beautiful sounds.
4) I gave the album a 3. I don't like it, but I perceive the effort to stay afloat.
5, as a side note) Metallica in the early nineties demonstrated an intelligence and attention to the world that others didn't have. The fact that they made virtually unlistenable albums is another story. This could also be discussed, but I don't want to bore you further with my chilly Saturday afternoon chatter.

Well, let's put it this way: in '90, more or less simultaneously, season in the abyss (awesome, for the last time), rust in peace, and that Anthrax album that mimicked Dalí on the cover came out. Of the three, I would have only returned the latter to the store. To return to Sound of White Noise, I believe it was contemporary to Countdown to Extinction, which for my tastes was an extraordinary sign of renewal from the Black Album. However, this discussion won't lead us anywhere; everyone sees things in their own way... I liked Anthrax for stuff like I'm the Man (if anyone still remembers it), never in a serious vein.
Regarding the generational discourse, I just wanted to refer to the fact that in '90, Facelift was also released, which already with We Die Young swept away quite a bit of contemporary ugliness... Shortly after, it was Badmotorfinger's turn, and it's hardly worth discussing its future impact.
If bands like Anthrax have modified their sound so much, it was evidently necessary to do so; but that doesn’t necessarily mean it was a choice driven by spontaneity, or that it resulted in a laid-back and/or credible album. I also liked "Only," but I found "Would" and similar tracks decidedly more convincing.

In my opinion, rather than underestimating the album in question, some people overestimated Anthrax quite a bit in previous years. Sound of White Noise may not be bad (or it is less bad than the boring and heavy previous album), but it remains a timid response to the relentless changing of times. The terrifying black monolith of Metallica on one side, and the splendid trump cards of Alice in Chains, Soundgarden, and the like on the other, have put thrashers from all over the world against the wall. The only one capable of writing songs was Mustaine, and only he - among (few) highs and some lows - managed to renew himself with dignity. At this point, better Slayer who - having found the formula - scrupulously alternated a furious guitar riff with a mid-tempo, disregarding trends and those fools who kept buying their albums, even though they already had the two truly essential songs...