puntiniCAZpuntini

I wanted to conclude with: Rubicondo. Because Lukin wanted to say it but I'm a son of a b*tch and I'm stealing it from him.

I didn't understand the clarification about the Muff. He has never used them, he doesn't play with anyone who uses them, and he’s not part of that scene. It's like specifying that in a Run DMC record, you won't find an 1800s church organ. It's not that "he was also hired by Vai"... his career starts there. Without Vai, there’s no Townsend; it’s not a collaboration, it’s "talent scouting." Too many repetitions that fall into redundancy (damn, I really wanted to say that): "Personally, I find it really personal" followed by "QUASI chill-out that starts very quietly and offers QUASI ethereal atmospheres"... in short, everything here is almost, and nothing is in itself. Besides the fact that you’re the first I hear saying this is the best of Devin; sure, everyone has their own opinion, but I've never heard anyone say that. You’re good, but you don’t apply yourself; in life, you need to go beyond your nice braids. I’d say it’s better for you to stick to the childish territory of God & Glam from the '80s; it suits you more, especially for the braids.

The most beautiful of the Masada that I have heard.

Beautiful, but I think the Jaco era is better. Not just for Jaco, the others seem more inspired as well, and the group's chemistry is more cohesive. This is indeed a 5-star album, but from Black Market to 8:30, it's a 6. With a Heavy Weather that I believe is beyond the score.

Well, Brus is Rock... but it's also true that he’s one of the first revivalists done incredibly poorly. Zero innovation and poorly made, boring, predictable, and absurdly trivial. Then I see many who appreciate the folk side, but I find the Rock so disgusting that I can’t hear the Folk without feeling annoyance. Antmo: yes, this album is one of the most pompous, annoying, elaborate snooze-fests I’ve ever heard, very much trying to be trendy. I like pompousness when it's exaggerated, as in this case. Few people can make albums like this; there are so many ideas and tons of technique, and that’s a combination you don’t come across often.

I believe we think in the same way :D, it's just a matter of names. I have friends who consider everything and anything to be Rock; I am more selective and meticulous. Already the Pink Floyd, I don't see them as rock: too stretched out, too electronic, too snobbish. Psychedelia I think is the right word. For me, rock died with the MC5 and the Velvet Underground, the kind that, as Easy rightly says, was full of "hedonism, humility, pure communicativeness." I don’t see Slint as a rebirth of rock, but rather as one of the many new pages. I’m not one of those who use Rock to mean "modern music"; rock is part of modern music, let’s even say it’s the main component, but it can’t be used for everything, otherwise it loses its meaning. Look at Kraut-Rock... what do Tangerine Dream have to do with Rock? :D

Back home, without even saying goodbye to my damn parents >> Hey Bionico, this is a highlight.

Take the latest from Hellacopters. Now that’s rock n roll... but it’s kind of heard-it-all-before, you know? Nice, I bought it, went to see them live, but I wasn’t exactly screaming “wow, what innovation” :D. At the show, everyone had their horns in the air shouting Rock N Roll, just like in the good OLD days ;-)

Stefano: if you say that someone is making something up, it’s evident that the starting point has run dry and one has to, indeed, invent something else. Music will never die; what has been squeezed to the bone is the simplest and most direct rock. As I also mention in the review, god bless Constellation and those ten guys who one evening are Silver Mt. Zion, the next Godspeed You, and an hour later they are called Exhaust. What they make may also be called post-rock, but honestly, I don’t understand what’s rock and roll in their music: it’s neither direct nor powerful, it has no youthful spirit or rebellion, it doesn’t make you dance, it's sad as bad luck, and it’s made with tons of instruments that are off the rock and roll canon, like cellos, violins, and electronic instruments. I dare anyone to go to a Zion concert, raise their horns in the air, and scream Rock N Roll!... at least the whole room would crack up. This album also starts from a very distant rock and roll root, but you certainly can’t define it as such. There’s an absurd exaggeration of progressive elements; there’s not a straight and danceable beat for even ten seconds. In the end, it comes more from classical and jazz than from rock. It’s new, it’s beautiful, it’s innovative, but it’s not rock and roll. And anyway, the Slint albums are 15 years old; they don’t seem very current to me, in relation to the discussion, eh :D

That it is a historical phenomenon is undeniable. It’s just said: “fuck, what a drag of a historical phenomenon.” Even The Piper is a historical phenomenon, but no one says fuck, what a drag. Even A Saucerful is a historical phenomenon, but no one says fuck, what a drag. Even Led Zeppelin II is a historical phenomenon, but no one says fuck, what a drag. Even Kick Out The Jams is a historical phenomenon, but no one says fuck, what a drag. Even Fun House is a historical phenomenon, but no one says fuck, what a drag. Even Sgt. Pepper is a historical phenomenon, but no one says fuck, what a drag. Even Dark Side is a historical phenomenon, but fuck what a monotonous pain in the ass. Anyway, that phrase is by Cope; I believe it’s the opening line of his book.