omahaceleb

I read everything, even though the description/comment for each song on the album is really heavy. You realize that the review format on YouTube is different from the one normally appreciated on debaser. For Tom, one of the five greatest he could put on. Anyway, playing the solo of American girl is awesome.

It's not a bathroom like it's sometimes described; on the contrary, on the contrary. I've always liked the aura of grime (whether it's merely displayed or real, I don't care) that surrounds women.

I remember it being quite heavy and not as centered as you suggest in the review, but I gave it just a few listens. I'll revisit it one of these days, so thanks for reminding me.

But the saddest thing is that scrolling through the comments, if I pause on the nickname of one of the fifteen omnipresent users, chosen at random (I won't name names to avoid starting a discussion that I know I can't carry on for at least three reasons), I already know the tone and content. There are those who have been writing the same comment at the bottom of any page for years, whether it's about politics, economics, or Pink Floyd, and yet they are still considered likable or interesting. A few years ago, users with a similar attitude were heavily mocked (I’m reminded of Stoney, do you remember dear @[Bartleboom]?) precisely because by the tenth reply, they were no longer digestible, and it was justified because it's frustrating to read the same things over and over.

Everyone who considers literature a serious matter and not just a hobby or a suitable dildo for moments of domestic solitude, everyone I believe, thinks that we really need to care about authors like Dick. Caring means also respecting them, allowing their ideas and insights to spark something within us as we read, so that it doesn't make them blush or turn in their graves. Simply, reading should not be an excuse to give momentum to the clichés we are soaked in; rather, the clichés should flee after the great authors' ideas come to visit us. Unfortunately, it has been a long time since the site has been on an unstoppable path of involution. Now comes the idiot with the hashtag Debaserstamorendo, I already know, but it's true, and we must say it to ourselves. The blame is obviously also and especially on those who are not here, those who lack the will or energy to put something interesting into it. Including me, of course, who between work, family, and a chronic laziness do not contribute anything. And maybe it's better this way, let it be clear. Just the thought that I now spend more time on ondarock, rockol, sentireascoltare, la caduta or wire, because nothing new comes through here anymore makes me reflect on the path that things have taken inside here. And well, we had a lot of fun.

Guys, what the hell is happening? Two weeks of terrible labor and you're doing strange things. So is it a collection of derece? I'm rushing to buy it. But only for the sake of keeping it there for two years and reselling it at the market.

Did you know that the Cavalera are of Salentine origin? I mean, I can say that the Sepoltura are actually from Casarano, my little town.

My friend, my friend... So, I've worn out Age of, in the sense that I've listened to it a lot and on loop—also in common with my partner who likes vapor, although she can barely remember the name of the genre. The thing is, I only realize now that I've never actually finished listening to it, because I've always gone back for months to the first four or five tracks. And if I try to motivate the way I've felt about that record, perhaps the underlying idea I've formed about the whole movement emerges. Let me explain: I absolutely love vapor and Lopatin, but they only satisfy me conceptually. I just need to listen to two or three tracks and understand them, grasp where the album is heading, speculate on the affinities and divergences with the previous works, but I rarely enjoy going all the way through the album. I mean, I have no classic aesthetic interest (it's not to my taste) but it moves me tremendously in a "formal" sense, in a Kantian aesthetic sense; I like his use of sound and loops as conditions for the possibility of an otherwise impractical experience. I'm glad Lopatin makes music, but I think he stands in the non-mainstream scene (not anymore or for long, since he’s now recording for Warp) like Meredith Monk or Diamanda Galas did to songwriting thirty or twenty years ago. Just as the Residents, or Alternative TV and Geza X were in the seventies. I see him as someone who needs to be there; the idea that he exists makes me happy, if only to suggest that there is "something else" beyond what we listen to—and what we see, think, perceive, etc. However, I sincerely hope that the alt music of the future doesn’t follow the paths laid out by R plus 7. Don’t get me wrong, people like him are good for the musical context, but I hope his role will always be somewhat "decentered" in relation to what I would like to see in the middle. Decentered and decentering. You on the other hand seem so enthusiastic and caught up that I had to tell you. I don’t know what you think. In fact, I don’t even know if you’ll understand anything from my statements, but you can let me know. I’m not sure if I’ve explained myself, I’m writing from my smartphone and I’m getting tired of going back and correcting what I've written.

Beautiful page Miki. Maybe I'll come back to write something that I really want to say to you, as soon as I finish earning the prosaic loaf.