antoniodeste

I could have some reservations about a few minor (forgivable) grammatical errors or similar nonsense, but given the enthusiasm and sufficient originality with which Carnefrisca tells me about his "Neu 2," I gladly offer him a smile and, perhaps inviting him to "review" his writing before sending it, I look forward to more delightful things "declared" with his curious verve.

A nod to give a (or rather two) pats on the back to the reviewer on this brilliant and delightful write-up. As already stated (and in agreement with Socrates), I personally do not shine for my attachment to traditional chamber and/or symphonic repertoire, which I abandoned nearly completely a long (long) time ago. However, rather than having to read about the heroic nonsense of certain so-called "modern musicians" or about indispensable masterpieces that no one remembers after three months, it’s better to read about unknown works of Mr. Mozart (since "Mozzy" sounds too cheesy...) and how one of his fans, in this case Mr. IBM in "2001: A Space Odyssey" version, extols their wonders, probably with good reason, given such beauty. Hi Hal, keep up the great work.

who is nandal?

I don't want to seem rude or inconsiderate towards the reviewer, but I would like to kindly invite him to read the review of the same album written by Dario Pierini in 2004. It can be found at the highlighted link on this page. It's a great alternative perspective as well as a complement. Thank you.

Great review for one of the historic rock albums. Well done, Dario.

Despite the undeniable and indisputable formal similarities with the epoch-making masterpiece of their debut, "In The Wake..." remains a masterpiece nonetheless. "The Devil's Triangle" has indeed been cited on more than one occasion, which, together with the improvised section of "Moonchild," constitutes the future reference for the creative-improvisational stylistic elements that will characterize the singular way Crimso experiments within the rigid structures of rock or prog-rock; para-jazz approaches will notably start to appear (especially in "Lizard" and "Islands"). Comparisons of this work to Crimso's 90s output, however, are frankly out of place, I believe. Comparing albums like this to Thrak is somewhat hazardous and perhaps incongruous, given the time leap and the complete difference in stylistic and instrumental contribution. The review evidently drips with a lot of passion for Fripp's group and is therefore slightly unbalanced, albeit sober and reliable. Note: "Cadence & Cascade" is sung not by Greg Lake but by Gordon Haskell, who would later join Crimso during the recordings of "Lizard." A must-have album.

Perhaps I have not been clear enough. This review has run its course, and already my last two comments seem to smell of a pointless waste of words. I repeat: I am infuriated to see my email inbox clogged (for weeks now) with nonsense that could be virtually endless. I invite all the "contenders" one last time to consider themselves "satisfied" and to visit other reviews. For the well-being and mental health of everyone. Please, thank you.

If you really want to seem or prove to be better than the person you are attacking, the best way is, and I reiterate, to review either the same "Offramp" or another Metheny album. This way, you will undoubtedly have the opportunity to show how "things are done," or, alternatively, to inform readers constructively about the value and importance of someone's work (in this case, Metheny). Everything else is just chatter that, at this point, is unnecessary and has been grinding on for quite a while now.

Enough is enough. Because when it's too much, it's too much. I've been following this squabble for quite a few days now and, frankly, you all have crossed the line. Just stop it already. Don't you have anything better to do all day than come up with convoluted arguments or insulting drivel, justifiable or not, to better offend the current target? Don't you have anything better to write about? Instead of wasting time speculating on what this person or that person does, thinks, or how they express themselves, take a Metheny album and try your hand at being critics yourself! Maybe something worth reading will actually come out of it. But please, spare us this endless absurdity.

I continue to uphold the idea that, in certain cases, anthologies are too restrictive to sufficiently convey the essence of one or more musicians. Moreover, upon closer examination, the market has already been saturated with anthologies, greatest hits, compilations, and anything else that serves only to fill the pockets of record companies for over two decades. It would be wise, at least concerning historical groups like this one, to make the effort (also for historical reasons) to purchase at least a couple of their original works (currently at very low prices). If you like them, pursue more; otherwise, nothing. But to persist in crediting empty anthologies is a waste of time and does not do justice to the artists.