pi-airot

Honestly, following the reasoning about fear that you presented, I was very disturbed, but much more so by Pasolini's "Salò". Here, I must be honest, I did find myself thinking "serves them right!" for the wealthy American kids portrayed in the film, who come to Europe solely in search of kartoffeln as if it were their personal brothel, without even bothering to look around to understand where they are. The atmosphere of the film did not excite me either, with too many concessions to a Marylin Manson aesthetic and "teenage horror." Overall, though, the plot holds up, the actors are convincing, and the film works.

An invitation not to reveal the entire plot of the films... This is a modern and divinely Lovecraftian horror. Very beautiful, well-directed, well-acted, and so on.

Surely in the soundtrack of my adolescence.

The obsession with declaring the death of genres belongs entirely to the English critics, who have always reveled in it, giving themselves great importance (I recently watched an English special on Britpop, where it was suggested that Oasis and Blur had wiped out grunge, reestablishing a British dominance over the rock scene). In America, things have always been much less problematic. This is why I have always liked the Ramones!

Beautiful, no ifs or buts.

I find them interesting (don’t ask me why, they remind me a bit of the Hawkwind of their best times). In the review, I didn’t quite understand why a band that finds a new and profoundly hybrid sound must declare the death of a genre (or maybe it was just a device to connect back to the album title). Personally, when it comes to experimental metal, I have always found the Celtic Frost of "To Mega Therion" and "Into the Pandemonium" more fascinating, capable of something deeply metal but also profoundly different (I think of "Mesmerized," with Sabbath-like riffs mixed with new wave sounds and rhythms). Anyway, it’s a nice proposal.

I got tangled up syntactically in the last sentence of the comment. I hope it's clear what I meant to say...

I heard some tracks, also because I struggle quite a bit to find the record. I got the idea of a band that's too uncertain about which path to take, easily falling into the temptation to overstep into territories they can't afford, neither technically nor compositionally (in short: they're overreaching). Surely the overwhelming politicization of those years didn't help the band, but I don't resonate with the contextualization at the beginning of the review. In '77-'78, Punk in Italy was perceived as reactionary music, thus right-wing, while the commercial failure of bands like Janus (there should be another similar one in the Italian prog of those years, but I can't remember the name) ended up making a splash in the water because those same young people on the right who were supposed to support them actually preferred to go to the disco or massacre girls in their seaside villas.

It’s a matter of personal taste, but I found it less cohesive than the debut album, and you can really feel the absence of Donella Del Monaco. Nevertheless, it’s still a great testament to the potential of our local rock (together, for example, with "Gudrun" by Pierrot Lunaire), capable of being decidedly different from European standards.

Great review and the album is very nice, although sometimes the band can get a bit carried away.