puntiniCAZpuntini

DeRank : 14,44 • DeAge™ : 8158 days

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  • Here since 21 october 2003
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"I think that influence also operates through the audience you manage to engage." Exactly, that’s what I was trying to say. The albums mentioned had a very limited audience in the 2000s; they just confirmed the listeners they already had in the 90s. It was then that those "genres" (understood in the broadest sense of the term) engaged a lot of people, myself included. If you ask me for an album similar to Relationship from the 2000s, I struggle to find one (surely there is one, and if I think about it hard enough, I would find it too), but if I think of an album similar from the 90s, many come to mind, and all of them sold extremely well. Then again, maybe if you count the listener charts that are completely off base (Billboard, etc.), I could be wrong since I don’t know them, but the charts from sites run by people who actually listen to music don’t seem to report any similar albums from 2001 (because – and it’s not a coincidence – the ones he mentioned are all from the year 2000) to 2010. It’s no wonder that even the same bands from those albums have significantly changed their offerings after those records. To give you another practical example, Sparta continued to make ATDI-like music and nobody pays them any attention. The Mars Volta completely shifted to other styles, and I believe I’ve read their name around.
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Anyway, Never Kill The Boy On First Date is a beautiful title.
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But am I the only one who never understands what you're saying? I swear, I have no idea how to respond to you, and I'm not even sure you're talking to me. No offense, though.
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An influential album in 2000 can only be electronic. For example, Dubstep now even has sub-sub-sub-genres; or post-rock with synthesizers like Mogwai, Glitch-Rap which has been dominating for ten years (and we’re still talking about Rap + unza unza). The only exception is Drone, which, even if played with electric guitars, results quite differently from what you’d expect from guys with guitars around their necks.
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Do you find them that influential? Relationship is the perfected summary of the ATDI career, and it's very comparable to a record like the latest from Refused or any album by Unsane, which are from the 90s. Lateralus is the same; it's the perfected summary of 90s Tool, who in turn refine things from 20 years before, and to list all the comparisons would take 300 names. As for Kid A, let's not even talk about it—it's not so much a summary of R. Head’s career but rather a summation of stuff from others (Warp Records in its entirety) still from the 90s. Jane Doe, yes, that's an influential record from the 2000s. It's not that great albums have to be influential; in fact, most of the time, a great album comes because it’s heavily influenced by others (I specify this so that the usual idiot doesn't come along to say they're masterpieces—yes, they are, but "influential" has nothing to do with it).
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<< sophisticated Erykah Badu, a progressive (and progressive) representative of the inflated world of black music. >> Great Badu, nothing to say, just bows. However, she's neither progressive nor progressista, and above all, she's someone who goes on about being down-to-earth and of the people from morning till night, so that "sophisticated" would probably get shoved up your nose if she heard you. (I also hate the term "black music," since it means nothing, but that's a dead-end discussion) /// The video from a few years ago where she appears on album covers is wonderful, especially the giant Tamarrata (still looping back to the "sophisticated," not even close) on the cover of Paid In Full, where she imitates Jim Carrey who, in the late '80s, was mimicking the rappers on Saturday Night Live.
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So, from what you link me, you claim that talking about an album you haven't listened to and a series of musicians who – despite being in two or three bands each – you don't know, for you is talking about Music. Well, then people wonder what's wrong in Italy.
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But who is he?
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Give me a link to a review where you truly discuss music; I have never read you. I’ve always read you discussing reviews in the technical sense of the writing or music in the general sense of fame. For instance, I have never read you write about a drummer (the one who plays the drums, usually sitting behind music bands during live concerts).
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And you insist on changing the subject, even though you reluctantly confirm my theory with "despite everything... they make me want to give up." But then what are you even doing here? I come here for the human side of the issue; it amuses me to see how people can find reasoning in the absolute subjectivity of music, contradicting themselves millions of times (sometimes consciously, sometimes not) and how they get upset over something that shouldn’t affect them at all ("X is better than Y," or even "your tastes don’t match mine"). But you? Repeating the same things to exhaustion, and every now and then trying to join the conversation while making the usual fool of yourself (like here, after all). Give me a because, 'ricchia de gaumma (for the unfortunate who might not catch the reference YouTube video non trovato4mgDscijhHc)