Dopesmoker

Cobain wanted to legitimize his music in larger circuits, just as his idols Sonic Youth did at the time. From there, as you rightly say, all the problems began. I would stop delving into all this background.

Moustache, I had a feeling you were a fan of the early Nirvana, but it certainly doesn’t come across from your opinions that you appreciate their entire body of work. As for "In Bloom" and its video, I knew it, just as I'm familiar with the demo and pre-mix versions of the songs from "Nevermind," but I don’t see it as negatively as you do regarding the Geffen recording. Simply put, the essence of Nirvana is still deeply rooted in that work, especially since a change from "Bleach" had already taken place and the sounds had clearly been polished. Again, it's a matter of opinion. I love "Nevermind" just as it is, plastic, ceramic, terracotta, call it whatever you like (or want). And I can’t even imagine it any other way.

A series of opinions that I cannot share, but they remain your opinions nonetheless. From my perspective, I believe that those who stubbornly engage in this anti-Cobain battle are not so different from the fifteen-year-old wearing his t-shirt and quoting some aphorism on Facebook. In cases like this, I say that the truth lies in the middle. The quality of Nirvana's product post-"Bleach" is indisputable, as is the influence they inadvertently had on subsequent generations. Icons, but not just that. And Cobain always listened to Scratch Acid, Raincoats, Black Flag, Melvins, Vaselines, Flipper, MDC, Young Marble Giants, and anyone else you can think of. He had the perseverance to guide a few (alas) people towards a musical universe that was foreign to them. Once he "accepted" (paradoxical to say) the role of icon, he didn’t just tread the boards of increasingly packed venues, but still pushed forward a kind of musical ideal and discovery that was dear to him. A person like that, and even more so a band like that, I would never cease to praise. The power of perspectives!

First, it's terrifying; second, strangely, I actually like it precisely for that slightly reckless streak; and third, it's a bit too "canonical." On average, I’d give it a three to a four, let’s say four out of sympathy.

"Total absence of the usual clichés of Italian indie rock mandated by the Agnelli-Godano decree of 1998;" I liked this. And to be honest, I also liked the review. As for the proposal: we will let you know!

They make holes in the ground!

The review is sublime, the offer that I mention. I miss this, but "Kings Of Oblivion" was passed to me some time ago by a friend and, what can I say, a delight!

Cursed ones, you are flooding my email with trivial "mutable" messages. I abhor it!

The video posted by Cornell changed my life!

Panic deserves a certain amount of listens, especially because if you take it as an end in itself, it does make sense and can also bring some pleasant satisfaction. But okay, it's true that it’s not essential at all.