puntiniCAZpuntini

DeRank : 14,44 • DeAge™ : 7959 days

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  • Here since 21 october 2003
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''anfatti Each One Teach One is more beautiful than Secret Wars, I probably wrote it in the review of Kosmo too, since it came to me second. Each is beautifully experimental, always Rock-Experimental and not pure experimental... but when a middle ground is done well, it really gets you going. I like all Autechre. All Autechre and all of Warp. Even the satellite labels of Warp, like Lexoleum Record, a Rap satellite like Co-Flow that was born in 2003. Try to find something by Boom Bip.
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1) Each One Teach One 2) Secret Wars ... and the others are on the same level, but they don't justify the effort to buy them. I paid 4€ for Secret Wars on Amazon, shipping included, probably thanks to a poor fool who didn't like it; there should be more poor fools like that :D
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The review, as usual, is written in the comments. Mine and others'. I don't feel like getting on a high horse and giving opinions; I describe what the album makes me think of, and then the review comes out from multiple hands. In the meantime, a lot of people have already downloaded it. If I wrote "it’s the not definitive version of the most laid-back album by QOTSA," there would be three comments and that would be it, instead there are 161, and this is the 162nd, and everyone is talking about music, not "oooohhh what a beautiful phrase you wrote... the second paragraph is very touching... who cares..." :))))
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And what's the point of comments, huh? The web is full of review sites, and I'm sick of reading "the whole album minute by minute." It's an album, not a football match. <<<After Giuseppe’s bass line, the ball goes to Gianni's snare... and Gavino's guitar scores gooooool!!!>>> I only read reviews that describe by people whose opinions I know exactly; otherwise, I don't understand a damn thing. If someone tells me "A bass line that delivers," it means nothing to me because I don't know what this guy listens to—whether he's into Rancid or Faust. To make it clear, this guy should write me 96 pages, and I really wouldn't want to read that. It's called Normalizer? It's called de-standard? No, it's called Debaser. :D
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You’re also right, but it’s not just that Scott played better, or that he played with his fingers; he had imagination. In certain tracks, he directed the whole thing—damn, he was a BASSIST. Unfortunately, I’ve only heard him play bass with Kyuss, so I can’t be sure, but I think someone who can do Stoner can also play Rock N Roll. Then again, 90,000 percent of the time they will never reunite, but together they were perfect; I mean, One Inch Man is the perfection of Bass-Guitar. In Blues For The Red Sun, the bass just follows the guitar as far as my untrained ear can distinguish. Furthermore, when Scott wanted to create chaos, there was no holding back: 100 Degrees completely overshadows all the tracks from Blues For The Red Sun for me. I’m a convinced Skyvallean, very convinced, then comes Circus, and then Blues... Or who knows, I could see Roger Waters with QOTSA if we really need someone with a pick. Too bad Pastorius is dead :))))) (the final nonsense is a must; I can’t write a completely serious post, I’m under contract).
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I didn't misunderstand. It must be that I'm listening to Michael Kaada and so today my idea of experimental was that :) Yes, I actually said something stupid. Well, it certainly won't be the last time :D
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Now I’m asking some jerk if they know the Liars, I’ll try to get them to pass me Giubbo. ;)
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Well, all the experimental records I have sound really, really good—perfect productions and sharp sounds. All the records I have (very few) of Lo-Fi sound like total crap, they're simple and have no sound at all. It might very well be that I don’t understand a damn thing about Lo-Fi. Give me a couple of purely Lo-Fi bands, at least I’ll understand where I’m going wrong. Lo-Fi stands for the opposite of Hi-Fi, meaning sound that is NOT polished, from what I’ve understood. The Oneida really perfect their sound, I don’t get it. Or maybe I mean another kind of "experimental," which ultimately means everything and nothing. Patton and El-P are both experimental, even though they make completely different records. I mean, I always say nonsense; it’s not like I do this once in a while ;) What I really don’t understand is the association between a band I like and other bands I’ve never even heard of... enlighten me :D
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We should... it should be. Today my keyboard is messed up. Poor star.
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We need SCOTT REEDER. I can't stand seeing him play the drums in the Manchu. We need Scott Reeder, and just wait and see what happens to Oliveri... we all forget about him. He may have attitude, bim-bim-bim & bom-bom-bam, but we need a bassist. Then, who knows, maybe it's because my favorite is the self-titled album where Oliveri just played... maybe I prefer the Kyuss records without him, but Oliveri doesn't say much to me. Clitobuster, on the other hand, loves him; Clito adores bassists with a pick. Come on, Clito, join in too; at least here we’re talking rock with some nice ladies, not with Neapolitans with Rawk Sideburns :))) / In summary, if this album isn’t good, it’s not because Nick is missing, or because Josh isn’t in shape or wants to do something else... Nick, poor star, I think he’s worth little. Okay, Feel Good Hit Of The Summer... catchy, danceable, but it’s not a track you listen to and say “damn, that’s pphhikus,” you dance to it and that’s it :D / I’m not too fond of Josh either, but he rocks, you can’t say a damn thing about him. Nick, on the other hand, should theoretically appeal to me—Drugged, Show-off, Shaved... but he doesn’t rock, he uses a pick, it just doesn’t work. Ugh. / The one who really gets on my nerves is TROY. I don’t like him, he doesn’t rock, he has no attitude, he’s GAY.