spaccazucche

Of course, the reviewer (wisely) invites us not to use the classic of the group as a comparison but to try to judge this other work separately, and what happens? Not a single comment that doesn't mention White Pony! What do I need this introduction for? To say that this is not White Pony and we better forget about any changes? There's something else here; the proto-grunge metal rap that Deftones used to be known for is, if not gone, well camouflaged. Here, there’s something different; the outbursts are thought-out, the voice is more resonant and psychedelic than ever, and there's a greater awareness of the instrument they're holding. In short, even those Californian skater fools can become refined, sometimes.

@madcat-starting with this is not very advisable as gioju rightly says, but with To record only water you're on the safe side. Don't miss Curtains, The will to death, and Ataxia. Everything, in short.

With your permission, the first track, which should be the one dominated by the drums (also in the video), is an insane burst of energy. The rest is certainly repetitive and poor, but listening to the second album is not as dispiriting as this one. @paloz- I'm sorry I didn't meet you at the Explosions, but maybe you were among those (many) I asked for a smoke, and we crossed paths without knowing it anyway...

1,000,000, letting you, discipline, echoplex and head down - in short, the first half of the album - is more than decent, and the tracks are structured and cohesive, unlike what a year zero fails to be. The piano ballad after the illustrious past says little, and then the arc of the remaining album is rather downward. A fairly decent album, but after so many years of career, it still doesn’t show a definitive loss of inspiration from my friend Trent (and for this reason, it represents a uniqueness among the long-established artists out there). There’s worse, indeed. Oh yes, there is.

how cute lux and saputello, seriously, you are so sweet (: okay, I understand what you mean and I don't think our opinions are that divergent. We listen to music (a lot, at least in my case) and we have quite high expectations as a result. But this doesn't stop me from genuinely appreciating a work that is, yes, fragmented, yes, full of barely developed drafts in some cases, but that moves me. Could any musician do the same? Maybe, but the empirical reality does not deny that many other musicians cannot match or even replicate Trent's work, rather they don't. And that's what counts, no one dares like that.

But I have never expressed myself about this album, until now I've talked about ghosts(!). I've listened to it just briefly and I'm sure I moderately share what you say about the "post Fragile". Criticism is constructive, but on this site, those who always win use redundant terms like "overrated", "already heard", "I could do it too with that producer(!)". Come on, it seems to me that by stubbornly demonizing others, one ends up empty. And snobbish, of course.

"Most of the pieces seem like sketches, tracks where the piano plays the same harmonic loop repeated for 3 minutes with background sounds, tribal mantras with captivating tones." I’ll quote as well, since it seems to work that way. I don't know what to say; maybe I'm satisfied with little, as you say. Because if being amazed means asking why things are as they are, I still have no answers while I listen to ghosts, and I continue to be amazed. Maybe it's because there’s not just three-minute piano parts that repeat or catchy mantras, but something more. Something that perhaps only an innocent listener without prejudices can appreciate with little guile. Because you managed to mention only Autechre and expect to compare their modest contribution to industrial music with a twenty-year career of an artist who, despite his great limits (vanity above all), has shown us that music can be destroyed and recreated in ways we've never heard before. Ah, I didn't understand Pasquale Panella's joke.

if this is the poverty, where would the opposite be that you imply to know but don't quite trust enough to mention? And aside from Moulder, you need ideas first. And Reznor, like a Patton, is an incontinent of ideas; it's not really necessary for me to prove it here.

If "dive your soul into love" sounds like nonsense to you, I don't think you understand much of the song. So perhaps you don't grasp Radiohead either, and the music that arises from that erotic impulse which is Love. And enough with these greedy calls to the past. As if Our Artists have nothing left to say. Isn't a Weird Fishes on par with a Street Spirit? Or instead a 15 Step? Or a Reckoner?? Regards.

I'm sorry lux, I understand your arguments but at this point I feel justified in being a priori with Reznor. Because even if I didn’t want to refer to the much-cited classics that he gifted us in the 90s as a guaranteed benchmark for all his works, I still couldn't deprive myself of the pleasure of admiring him. Because even if this album were mediocre (and it certainly isn’t compared to the more lamentable Year Zero), it briefly follows (so I'm not referring to the grandeur of a remote past) a pharaonic and astonishing work like GHOSTS I-IV. Come on, let's not kid ourselves, 36 tracks of that kind weren’t just sitting in a drawer from Fragile waiting to surprise us in 2008!!