ajejebrazorf

I didn’t know anything about Jeff Buckley, but then I saw the video for Grace on Videomusic and... by evening, I had the album at home, him alive and still (for a little while) unknown. It's not the extraordinary album I thought it was back then, but there’s a big leap from that to calling it a piece of crap. Hallelujah, which put you to sleep if it hasn't been made explicit yet, is by Leo Cohen, and it’s not much different from the one on this album; Grace is a great track; good songs are Mojo Pin, Dream Brother, and Eternal Life. I appreciate the contrarian approach, but a little more objectivity wouldn’t hurt: the work on the arrangements is very careful and refined, also in creating atmosphere, there’s a certain Lucas on guitar, does Beefheart ring a bell? In short, we’re not in the realm of Britney Spears, nor in that of Oasis. You’ve made Drake your hero, but if we’re going to have a harsh discussion like yours, we can find the flaws in Drake too, and I know him very well ;). I understand the irritation toward the idolatry climate that arises after the death of any rock musician, and I too have my idiosyncrasies and bands I dislike (some more than others: Oasis, Nirvana, Beatles), and the dislike for the crying girls screaming "Jeeefff!!!" as if we were at TopofdePoppe, but a bit more coolness wouldn’t have hurt the review. So 3 for this one (for the courage), 3.5 for the album (the half because I have so many good memories tied to this album...)

But... if there is a guitar hero, is there also a bagpipe hero?

but...if guitar hero exists, is there also a bagpipe-hero?

But is Antonio Luca your real name?

ah the vote for the record and the reviewer:

Come on, I won’t leave you alone: I love this album to death... bye Easycure

You know, I hope to go beyond monosyllables... it's difficult, but I'm trying ;) no hard feelings if we have different tastes, okay?

Anyway, this discussion in the DT review doesn't really fit in much... ;)

It's precisely the concept of deconstruction that isn't clear to me: I've read some definitions of various post-modernisms, and almost all of them talked about deconstruction (which I've understood as dismantling) existing styles (in music, blues, rock, jazz), and using the individual parts (the solo, the chorus, but also the instrumentation or simple sounds) differently: a bit like using words in Italian with the syntax of English, or whatever... but if that's the case, the primacy of Slint really doesn't hold up: whether they were the first doesn't really matter to me; when I listen, I go much more "by gut feeling," in the sense that if I like an album, I don't dwell on other issues, and I liked Slint a lot right from the start. What I can't comprehend is why it's said that post-rock bands are different because they deconstruct: for me (if this is understood in the way I interpreted it) "deconstruct" also applies to Tom Waits, Zappa, Morphine, Captain "Puzzetta" Beefheart, Pere Ubu, the Residents. What I mean is that I find the definition of post-something a bit forced viewed this way, something from rock critics who are eager to create connections that aren't necessarily there: I believe instead that what unites many bands from the past decade and this one is a new sensitivity, more mature and less sensationalist, which pertains not only to post-rock but also to electronic artists like Autechre and low-profile singer-songwriters more than low-fi (Smog, Black Heart Procession, Cat Power, Germano): however, you are absolutely right when you talk about the mannerisms of many bands that, feeling celebrated, thought it wise to strike while the iron is hot, but I don't believe that as a movement post-rock (we have to call it that...) is finished; quite the opposite... it's just that I find some famous bands a bit overrated; personally, as someone who listens to a lot of slow music, I get bored with Godspeed (though to give credit, many of my friends go wild for them and say I don't understand anything), I'm not particularly fond of Radiohead (are they post-rock? Anyway, I somewhat like them), but I enjoyed the latest from Low and Broken Social Scene, which are... I don't remember, anyway either from last year or two years ago, which makes me think that the "genre" is still lively and vibrant...

Ok, my bad Stormino, I thought you were a kid. I'm tired of the fight between faster guitarists, capable of playing with their earlobes, increasingly sweaty drummers, and singers who squeeze those things seen on this cover to hit higher notes than Child in Time: shredders give me hives, even technically gifted fusion bands like the Dixie Dregs, Return to Forever, or Mahavishnu get too carried away (unnecessarily, in my opinion). I won't even mention the effect groups like Rhapsody give me. However, I really like the early Phish from Lawn Boy and Picture of Nectar, who are a technically gifted band. I also like the King Crimson from Red. Years ago, I had a crush on Area. What I don't like is everything that feels gratuitous, the self-satisfied and pompous atmosphere of many records. I may be biased, but for this reason, I have never listened to a record by Emerson, Lake & Palmer. I'm completely on board with the idea that an album should surprise and be unpredictable, but I don't find it very unpredictable to have one solo after another after another... but I realize it's a trivial issue, we could go on for hours. A few years ago, Keith Jarrett stated that when he listened to his records again, he found too many notes, and he began playing in a more essential way. This concept is absolutely incomprehensible to many bands that play with the philosophy of "the more, the better." That said, thanks Graz for the tip on Magma. Regarding Easycure: when it comes to post-rock, it’s a very vague definition, to the point that bands labeled post-rock like Dirty Three (absolutely get Ocean Songs if you don’t have it) don’t even recognize themselves in the genre! In fact, it's perhaps more of an attitude to use fragments of pre-existing genres and mix them in a new, more subdued, and cerebral way (very much closer to the spirit of classical and avant-garde than to the minor harmonics of prog bands): if you look at it this way, you can also include Morphine, Blind Idiot God, Spring Heel Jack, and even Royal Trux and Vampire Rodents in the mix, who many would argue have nothing to do with post, and all of these groups have made great albums. Anyway, Slint are great (they remind me a lot of the more repressed guitar parts of Drive Like Jehu), but they didn't invent the deconstruction idea, or maybe I just never understood it well: did Captain Beefheart deconstruct?