ajejebrazorf

The commercial album is a great record, disorienting and unsettling, even if slightly inferior to the early ones. For tracks that are only a minute long, they are densely packed with ideas and ultra-complex arrangements. "I was just exhausted From the act of being polite." The DVD is a must-have. A quote is in order: "1) Pop music consists of two musical thematic lines repeated multiple times in a song: the verse and the chorus.
2) By performing a “cut and paste” of these thematic lines, you reach a duration of about one minute per song.
3) One minute is exactly the duration of a Commercial (the advertising spot of the time in the United States) along with its jingle.
4) Jingles are the true essence of American folk."
"If we look again at the world of advertising, and for fun, we were to create a morphology in the manner of Propp, we would undoubtedly notice that most of the time, advertising plays on the disjunction of the subject from happiness, which through manipulation or acquired competence (for example, through a helper) is joined to happiness once the advertised object is possessed.
In this case, the song is critical of the end goal, and if we further generalize the purpose of the Commercial Album, it suggests that advertising conceals a lie. Let's take another, rather bold step forward and say that Popular music conceals a lie; it is a tyrannical and deceptive voice (a concept already expressed in the aforementioned The Third Reich 'N' Roll) despite its apparent pleasantness. Pop does not disappoint..."

Honestly, it’s not among my favorites, perhaps because the parodic dimension here is too pronounced. It might also be the one I listen to the least among the first ones. Anyway, Classe a tonnellate, always and anyway. Beautiful and monstrous is the cover of Satisfaction.

perfectly agree with psycho. Guys, ask yourselves if it makes sense to do 4000 reviews of the same album, no matter how well done they might be.

No, I haven't heard them yet. I've only read a few texts, and knowing about mc's particular positions and his interest in "political" music, I believe he would definitely be interested. Also due to their contradictory positions, as far as I understand, being close to fascism but also admirers of Pasolini. People are already saying a lot of good or bad things about them. In short, I'm quite curious.

The album is simply magnificent. One of the most daring and skilled bands ever to appear on planet Earth. How do they sound? Almost like if Zappa, Sun Ra, and Lynch got together to write poetry in a mental asylum. Apocalyptic. I declare my most unrestrained love for the bulbs. Emanuel, you could/should have said more; there are people who write their theses on The Residents.

You were clear yes and no. From a stylistic point of view, Slint are original up to a certain point, and you implicitly acknowledge this by citing previous bands and hardcore. I don't agree when you say that post-rock is mainly geometry. For me, the innovation of Slint lies precisely in their atmosphere, their ability to create tension and maintain it. Continuing in the magical world of rasping, it's the music of neurosis. Not by chance does Spiderland have very few shouted moments, the guitars at the end of "Washer," the "I miss you" of "Good Morning, Captain," for the rest it's a very restrained album, and for me, that's where its greatness lies. A bit like in horror, the ones that are truly scary are the ones that don't show you anything and keep you on edge the whole time. The hardcore preceding Slint in this fine metaphor would play the role of the splatter film of the situation, which at best makes you laugh.

Kiki, I have nothing to do with this, I swear, it was enzathevil who instigated me.

SUOPERDRURER? A 0.40, thank you.

and the record

and I did not vote zione.