Ghemison

I completely disagree: usually musicians shouldn't even be listened to when they talk about music (neither their own nor others')... paraphrasing Sanguineti, "certain works are smarter than their authors". So let's let the music speak, and if it really needs to be analyzed, let's have the critic (professionally or otherwise) do it, not the musician themselves: otherwise, it would create a slight conflict of interest.

Well... you avoid nonsensical flourishes and baroque overuse of adjectives, but you still need to improve on punctuation and sentence structure (often you place "che" where it doesn't belong and omit it where it should be)... also, "sé" is spelled with an accent, except in the case of "se stess*". Okay? Regarding the character: even Il Mucchio has brought him back and praised him time and again, even including "Talking with taxman about poetry" among the milestones. I don't know him, and I don't think he's my cup of tea, but I could give that latest mentioned album a listen (if only for the fantastic title).

The fact that you frequent this site (and it is assumed that you review, in fact, we know this because I checked) makes you akin to a critic in your (our) little (?!), right? And it might very well be that it is the groups themselves that want to be differentiated... It seems trivial to always blame the critics.

Using the formal "Lei" is a habit I picked up from reading too many comments on Lo Sfascia... so I thank you and, although I don't recall the advertisement you mentioned, I would dare to say that the aforementioned name strongly reminds me of the great eighteenth-century English poet. Anyway, thanx and once again compliments on the review! ;-)

new-school hardcore is a type of hardcore that follows old-school hardcore (Bad Brains for example), but I couldn't tell you which bands are part of it (maybe Fugazi, but you should ask people like Donjunio or Festwca)... and I don't think it has much to do with the Prodigy...

God, what a mess of reviews... I don't really enjoy them that much (I've probably repeated that hundreds of times) but they are still Music For The Jilted Generation...

you’re nice, you...

Why did she scream at the masterpiece in front of The Eraser? Well, it's a nice album but nothing groundbreaking or innovative... This little work here just doesn't intrigue me... And it’s obvious that she doesn’t understand much about electronics: "I don't see the point of a remix of a song that was probably the catchiest, most radio-friendly on the album." What does it matter if the song is catchy or not? Can you explain that to me? A good remixer (whether a DJ, producer, or musician) can create great remixes of both a Britney Spears single and the industrial cacophony suites of Einstürzende Neubauten! And if she enjoyed Kid A so much, well, she should listen to some Warp music (not to mention Danny The Dog by Massive Attack). She’ll hopefully be pleasantly surprised. As for the rest, the review is okay (but you could have proofread it, right?), with clever ideas and nice descriptions. It's a shame about the naivety and errors...

what a complicated review... but beautiful if you enter the right mindset... but she, who is a (our) great expert in jazz (I reiterate what Dante C. mentioned above), does she know the clarinetist Byron? you see, I am passionate about the instrument (I used to play it too) and I like the subject in question right away. I only know one of his works and I believe it’s his least jazz (Nu Blaxploitation, of which you can also find the review); I would like to discover him in other forms and I rely on you... thank you in advance and (I quote) "best regards to iosam"

No no Dave, there’s little "yo yo" here... these are punches to the gut.