nix

A well-known musicologist, named Gianfranco Salvatore, published a 250-page book last year titled "The First 4 Seconds of Revolver." The provocative thesis, explained in the 250 pages, is that "pop music" was born with those 4 seconds that open the album "Revolver." Not just the album, but specifically its first 4 seconds, in which you can barely hear some sound effects synthesized in the recording studio. The discussion would be very lengthy, and the review is quite short, so for now, I will limit myself to making this simple mention to marcirap. marcirap, if you're really interested in the topic (though I have my doubts), even without buying the book (which is excellent, by the way), you can find some excerpts published online.

Danyguarr, don't be scared, it's a nasty environment.
The review, technically, is not a zot. It's too much for a zot and too little to make sense of anything. In short, to step outside the basic language, it's a bit on the thin side.
Anyway, welcome.
Next time, a little less greed if you can manage it. There won't be a next time anyway. We'll all die.

a simple review, but interesting if only because it sheds a little light on a world unknown to many, like that of Japanese jazz/rock/progressive. April Fool, Hiro Yanagida... never heard of them. Let's keep in mind that an album like Azimut by Perigeo, one of the Italian milestones of this genre, was reissued on CD in 1989, and before that, it was released only at its initial launch in 1972. In the early '80s, the time when I became passionate about that genre, Perigeo vinyl records were impossible to find unless in the second-hand market, and they didn't give them away. In short, it's music that has fallen into oblivion for many years and is rarely rediscovered, on the occasion of some reissue or an article in industry magazines. This goes for the Italian side. Just imagine for the Japanese one.

Cartoonish, gangly, itchy but in a sneaky way. This is writing well.
Starting from a trivial work to affectionately recall an era is a nice idea.
I think of Offlaga Disco Pax and Max Collini, who did something like that about fifteen years ago.
I appreciate all of this because it’s sincere and well-crafted. Good job Almotasim.

I knew it would happen sooner or later. You didn’t wear a mask? You went out to mingle with the crowd? You didn’t wash your hands?
Here’s the result: you’ve caught egocentritis19. A review where you only talk about yourself, as if the world has been waiting for that. Essentially, you’re saying nothing.
Is it possible that Debaser is becoming a den of egocentrics strutting around each other? Was Snes not enough?
And now how do you treat it? The only remedy is to write a decent review next time. There are no other cures.

I essentially agree.
However, the official live album '77 Love You Live, while being nowhere near comparable to Get Yer Ya-Ya's Out! (for me one of the greatest albums of all time), is not to be dismissed.

It's been many years since I listened to this album. I remember it as one of his best from that era. Overall, but this is a matter of personal taste, I prefer Keith Jarrett when he plays in a trio or, even better, solo. Solo, perhaps, he gives his best.

Moreover, I find his "electric jazz" ventures from the early '70s, like Expectations as RinaldiACHTUNG mentioned, to be somewhat uninspiring (though not bad). Let's be honest, those are pretty boring records. When he plays solo, like in Facing You or the Cologne Concert, Jarrett is unbeatable.

My favorite titles, aside from Facing You and Cologne Concert (and, I'd say, also this one reviewed by DBMsonic1): Standards vol. 1 and 2, Jasmine, My Foolish Heart.

if behind this review there's this concept: "it's music from the bunch, made by musicians from the bunch, so I give the minimum to the records where they try to do things seriously, and the maximum to the records where they blatantly mess around, knowing they're messing around" if behind the review there's this concept, and it seems to me that it is so, then I find this review agreeable, and also entertaining (but even the past ones were entertaining, not agreeable).

Well, I've read and reread it and I'm perplexed. There's a hint of good competence, that's for sure. However, the reading seems anything but fluid. The great disillusionment that characterizes the arrival of the '70s is expressed in a intricate and twisted way. It confuses ideas and easily leads one astray. Overall, it strikes me as an ambitious yet unsuccessful piece. Too many references, too many reflections that aren't developed; in short, too much on the plate, in a form that isn't particularly fortunate. What a shame.

For me, Spiderland, even more so, remains one of the most inscrutable and mysterious albums I have ever listened to. Mysterious and inscrutable. What could they have meant with this music? I have never been able to understand it, so I stay out of any discussion.
I don't even discuss the fabric of CosmicJocker; it’s one of the keyboards I appreciate the most.
But Slint? A post-mystery.