cappio al pollo

@KOSMOGABRI: I won't deny that I felt like loving you, but you've come down a bit for me: primarily because of comment number 68, as I believe that someone who records a masterpiece doesn't become fundamental, at most important, and there are always exceptions. How can a record that needs to sound dirty, raw, and everything else, be "improved" by a sound engineer/producer/someone like them? Anyway, thinking this way puts the music, the arrangements, and the mastery with one's instrument in the background, etc. Then you also said: "for me, certain records without that sound technique wouldn’t be those records. It's a matter of style. (don't make me create lists, but just Surfer Rosa!)". And here I completely disagree because the strength of Surfer Rosa lies mainly in the band's ingenuity. As I mentioned in a previous comment, if you listen to the demos of Black and company, you are still struck by the energy, the arrangements, and their way of feeling music (not to mention Santiago and Black's mastery with their instruments and the latter's voice). Finally, it is absolutely true that I dedicated an entire paragraph to Albini, and this is because I have never said that I don't consider him important (especially for the band in question, and this doesn't mean that Uzeda owe everything to Albini, quite the opposite!), but his importance doesn't make him fundamental, and I am convinced of this.

But look at you, you’re really strong: what you present as absolute truth must be understood with a "for me" in front of it. But Albini remains fundamental for his works that you consider indispensable? What are you saying? Indispensability is determined by facts (and sorry for the pun), not by personal preferences, according to which for Giustiziere (for example) it could be a work by Suzi Quatro. Excellent exit, by the way, it adds more credibility to all the nonsense you've been pushing forward. Regards.

@JUDGE: realizes how unimportant it is (to be right), only when he understands that he is not!

You have little to argue about; I never said that record is at the top of a hypothetical ranking of the best albums of the decade (and if you think it's the most beautiful, well... beauty is subjective). Recording a masterpiece doesn't make the person who records it a key, fundamental figure. I've never confused anything; I was talking about his "production" exclusively because it seemed to me that, in your view, the entire success of the aforementioned albums depends on it [and therefore the beauty of the albums you mentioned as THE MOST BEAUTIFUL OF ENTIRE DECADES would also depend on it (and you'd expect to be the one informed about the entire history of American music?)].

Anyway, that record is neither an EP nor an LP, perhaps a mini-album.

And why on earth should I mention anyone from today? Albini has been at work for decades. About Confusion is Sex, your point seems a bit of a reaching. Shall we then say that Sonic Youth have been active since '81 and Albini since '82? And what kind of argument would that be? But don’t make me out to be someone who says Albini isn’t worth a damn. I simply say he’s not essential, even though he has RECORDED masterpieces (which are not, contrary to what you say, all the works he recorded with his bands), that there were people making noise decades before him (take Kick Out the Jams). In short, good job Albini, but it doesn’t seem right to go as far as to say that he's "made the most beautiful record of the 00s" (a decade that's still ongoing, by the way, meh), what is he, Jesus Christ?

Indeed, adjusting the knobs on the mixer and recording are typical tasks for bakers, and if I say that Albini produced his band's records, I mean they don't sound like anything else, you're absolutely right. Noise doesn't exist? You really know those records in question. Alternative is everything, including the underground movement. Lastly, it seems to me that in '82 there were also people like Sonic Youth who were putting out their self-titled EP or Confusion is Sex, regardless of Albini.

It seems like a rather biased view to me, although I recognize the importance of his contribution to the albums you've mentioned, which are not the best albums of the listed decades but excellent records in the alternative/noise scene. Finally, it's not just the production that determines the success of an album, and I assure you that the Pixies' demos sounded great even without Albini's involvement.

There was one "with" too many in comment 30.

Purpulan, I actually think like you do. Just think, I don't even dislike Trompe le Monde, on the contrary!