Giordyboy

@ Sfascia: Dear, I want to point out that Agnelli himself, in a recent interview with RAI, stated that he drew inspiration from Diamanda Galas rather than Stratos. You must have missed this statement.

@ Sfascia: Dear, I want to point out that Agnelli himself, in a recent interview with RAI, stated that he drew inspiration from Diamanda Galas rather than Stratos. You must have missed this statement.

@ Sfascia: Dear, I want to point out that Agnelli himself, in a recent interview with RAI, stated that he drew inspiration from Diamanda Galas rather than Stratos. You must have missed this statement.

It seems that the most important issue is the quantity of reviews published on the same album rather than their actual quality. In my defense, I can only say that my review was definitely the first (I wrote and submitted it almost a month ago), so I bear no responsibility for how many have been published subsequently. I think that maybe the editors could choose a couple, the best ones, and publish only those, but it’s not up to me to solve this problem and frankly, I don’t even care. Another valid point of view suggests that, in any case, multiple judgments on the same work certainly contribute to forming a more complete idea, so they are welcome (total and universal freedom of expression, always). The effort to read them all is up to you, if you wish. If you don't, it changes nothing.

...something new and vital? This album is the triumph of banality.

I find the review excellent in its content. Personally, I believe the album is open to all interpretations and indeed the critiques are equally divided between enthusiasts and those who feel let down. One thing is certain: it is not the best album by After, but we must be careful not to be superficial in a complete dismissal. I personally appreciate the lightness with which the album was conceived, the desire to shed the dark and serious mantle of previous works, the wish to have fun and make some noise, and the constant search for new paths, which is certainly to be praised and is the only way to avoid dying by playing the same songs for 30 years. In this sense, After are among the few in Italy to play innovatively while doing rock (the same Marlene have released a beautiful album but certainly not particularly new). Despite their age and experience, After are "progressive" much more than people who are 10 years younger. The desire to explore is immensely commendable. That said, not all results are exceptional, and indeed some tracks on this album may be disposable, but not all of them. There are also beautiful songs, in my opinion. It is reasonable to compare the album to "Hai paura del buio," of course without exaggerating, due to the structure of the short and fast songs and the sparkling, self-destructive lyrics, but it is also true that the album as a whole sounds like something entirely different from the past; just consider "è solo febbre" or "pochi istanti nella lavatrice," which are truly remarkable in their construction (raise your hand if you expected pieces like these). To be honest, I must admit that there are at least three mediocre and trivial tracks that inevitably lower the overall judgment of the album. As for the rest, I’ll stay out of the religious wars between those who hate them madly and those who love them beyond any doubt. I have the age and culture to have independent ideas, impervious to trends and the masses.

The review is excellent from a technical standpoint, but my opinion is exactly the opposite. In my view, the album is at least close to being a masterpiece, and most critics in the industry share my sentiments (comments have been enthusiastic pretty much everywhere in the world). The album definitely requires multiple listens and a lot of patience to reveal itself fully, and I hope you manage to grasp it in the end. Perhaps it's just a matter of time.
Some tracks are amazing: Silence, Neon Smil, The Rip, We Carry On, and the final trilogy are stunning, and the coldness and claustrophobia are exactly the sense they aim to convey; the whole album has this slightly disorienting charm.

It's impossible to give a thorough judgment on this album after just a week. It's a complex album full of nuances that requires careful listening. For now, it's still not clear in its manifestation. Only occasionally do some things emerge as better than others. Experience tells me to wait, so I give you a two because you were superficial and hasty. Maybe in the long run you would have been right, but you still can't really know.
Then let me teach you something, trust your uncle: songs always resemble other songs. It's a cliché, but it's a fundamental principle of music (especially pop/rock). Either you accept it or you change genre.
Goodbye,
Uncle Giordy

HOLY GOD! I can't believe it.

@GrantNicholas: Look, HTTT was a piece of crap even for me, this is something else entirely. The Bends is radio-friendly, yes, but damn how beautiful it is. The masterpiece, however, the perfection, in my opinion, was achieved with OK Computer and for different reasons with Kid A, which will go down in music history for what it represented.