puntiniCAZpuntini

DeRank : 14,42 • DeAge™ : 7909 days

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  • Here since 21 october 2003
Voto:
But is the Picasso maybe the QUEEN OF SBORON that Metheny uses when he really, really wants to show off? If so, damn Antò, take a picture in a t-shirt with that.
Voto:
In this album, it seems to me more like the Madonna than God. What melancholy, here it’s a matter of a very high percentage of homosexuality that stands in stark contrast to the square balls of the other three. It’s nice to have a contrast every now and then, but not throughout an entire album. Those tones aren't doing anything worthwhile. Mina has the most beautiful voice in the world, but she wouldn’t exactly fit in with Sepultura. If he wants to be gay, he can do it with APC where it fits well. In Tool, he ruins the albums. His instrument is only his voice; he spends all day singing, he hasn't participated in the composition, he's strictly a vocalist, and therefore he must adapt his instrument to the others if he wants to make good albums. If Jones played the whole album with a banjo, everyone would be pissed off; Maynard did the same thing, only he’s covered by the enormous instrumental work of the others, over which you could even burp, it’s so impossible to completely ruin things like that. A nightingale's voice in a condor aviary, it doesn't fit, it doesn’t belong, it sucks, it's useless, it ruins. Go home. And come back when you’ve figured out what’s bouncing in your boxers. PS: and if the light bothers you, put on a fucking pair of glasses, it seems simple enough.
Voto:
In my opinion, it’s all a matter of how you calculate the angle of views in the script, because the conditioned reflex of being, even with excellent photography, can never be related to the plot, except to a minimal extent thanks to hyperlinks and/or imagery. The main point of Hawks lies there, in the middle, at the foundation. But, ugly though.
Voto:
From the control room, I'm reminded that point 2 also inherently contains a point 3: the pieces I considered useless fucking interludes turned out to be not useless fucking interludes, but fabulous "samples" for producing a fabulous track. Therefore, having removed the annoyance caused by the "time wasted on interludes," the rating goes up to 5 with fewer regrets.
Voto:
Never said it was a shit album. I said, and I reiterate, that Maynard on this album is shit, he ruins it, and it was better without him. I would have preferred Jones chatting with Carey as the voices. Before I gave it a 3, now I give it a 5 for two reasons: 1) when properly equalized, Maynard hides very well under the bass, which on this album is really recorded at an insane volume. 2) The Ghost Track is fabulous, and I discovered it after a couple of months as it was meant to be composed. Without the Ghost Track it would be a 4, and without the bass recorded so powerfully it would be a 3, like before. Maynard, I reiterate for the umpteenth time: in 85% of this album it's annoying, damaging, unbearable, and makes you nervous. On the "la la lai lalalaààà" of Vicarious, there's life imprisonment. Besides being an enormous idiot as a person, it's impossible to notice every little flaw of his, but here the flaws are quite a few. Always and only his, and not the band's. Re-re-reiterate.
Voto:
I mean Formalist work? I really don't understand the meaning of the term applied to the album, but also to music in general. In the sense of "too much form, too little substance," or exactly Formalist, in the sense of Formalist, and so we go back to square one with: I mean Formalist work?
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But no, make it in stone! en-tusiasmo, e-e-entusiasmo!
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And now let's move on to one versus one! en-thusiasm, e-e-enthusiasm!
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Our TV show is better than the one on Requiem For A Dream: e-e-enthusiasm, e-e-enthusiasm! We have a winner...ooohhh...