puntiniCAZpuntini

DeRank : 14,42 • DeAge™ : 7901 days

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  • Here since 21 october 2003
Voto:
Ah well, yes. Four words are worth as much as four hundred that go deep. I'm all for Valetudo, both as a sport and as a writing style. Lewis, you should like the Dragonauta. If you know Los Natas, we're more or less in that ballpark, but the Drago indulge more in notes, breaks, and prog-like variations (I wrote “like,” okay).
Voto:
Exactly, the interaction. Many users of this site, for me, can also write just 4 words and indicate the genre, and I already know what the record is like and if I will like it. And this happens quickly; it’s not like it takes years of exchanges. Another example, I know very well that, even if we have very similar tastes, this record won’t appeal to psychopompe the way it does to me. Due to the production, sound, and bass & drum setup that drives me crazy but resonates less with him. On the other hand, it’s a record very much in the style of Moonchild or Birobiro. Oh, maybe it’s just me having too much memory :D
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Patton arrived when the album was already finished; he wrote the lyrics in ten days and laid them over the tracks. The album was released a month after Michele's arrival. According to him and Gould, they only tweaked two or three "hooks," either delaying or advancing them to sync with the lyrics. I adore Patton, but before '91-92 he was just a singer, nothing more. A guy with an incredible vocal gift, but not the Genius he later became. Patton is present in Angel Dust; in this album, he's just an overly excited kid playing with the greats. It's a fabulous album, but especially thanks to one of the best rhythm sections of the '80s: Gould & Puffy. The bass and drums on this album are exceptional, no exaggeration. What ruins your review is that "less interesting" remark about War Pigs. I mean, War Pigs. Moreover, it’s played so well that later on, Ozzy "signed" Puffy to play with him.
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I was telling Fidia, the comments from others weren't there yet. Thanks for the link, Sfascia.
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Well, yes and no. Right now, I agree with you, but a few years ago there was a lot, a lot, a lot less "seriousness," so writings like this weren't "provocative," but just "carefree interludes." I've always written like this since I read "Resist" by the Kosheen, written by G. That was three years ago. If a bunch of idiots have come along wanting to teach us how to use this site, well, that's their problem. I continue to consider them "carefree interludes" through which I recommend an album, without overthinking it. Anyway, I repeat: right now, yes, you're right. It's just that I don't do it on purpose; I’ve become like this.
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Ah, one more thing: sincere compliments to the creator of "Folk Apocalittico," I'm still laughing...
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I was talking about Christmas Stars, right? PS: there must be an issue with the hyperlink tool of the editor on the description page, it messed up all the links (I put it link rotto I did, I swear)
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Commercial is an ambiguous term. I only discuss the fact that, according to you, since they were selling less, they did it for passion. I have always read and seen interviews where it was stated, nonetheless: One for the money, two for the show. Especially in those years. The only exceptions are things like Anticon or Def Jux, which, however, didn't exist in the early 90s. Of course, there was also passion, but money came first, above all. The difference with 50 Cent is just one: B-Real is god, and 50 Cent is mediocre. Just that.
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In my house, I don't have a death row, but I went to Psycho's place and I can confirm that he does have one. And he calls it Death Row.
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Beyond all the historical context, this is the album I've listened to the most in my life. It almost haunts me.