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I've always wanted to delve deeper into Tool, and listening to their debut, "Undertow," allows me to do so in an even more profound way. An album that already showcases the band's trademarks, but with influences, like grunge, that reflect the year of release, which is quite distant today: 1993. An excellent work, fast, intense, and intelligent, but less fundamental than the subsequent ones, even though it features great tracks like the explosive "Bottom," the grandiose title track, the highly refined "4 Degres," and the absurd "Sober." A great work, especially considering its status as a debut.

I have always wanted to delve deeper into Tool, and while listening to their debut, "Undertow," I am able to do so, even more thoroughly. An album that already showcases the band's trademarks, but with influences, like the grunge sound, that reflect the year of its release, which seems so distant today: 1993. A great work, fast, intense, and intelligent, but less essential than the subsequent ones, even though it features good tracks like the explosive "Bottom," the grandiose title track, the sophisticated "4 Degrees," and the absurd "Sober." An excellent effort, especially considering its debut status.

I have always wanted to delve deeper into Tool, and while listening to their debut, "Undertow," I am able to do so, even more thoroughly. An album that already showcases the band's trademarks, but with influences, like the grunge sound, that reflect the year of its release, which seems so distant today: 1993. A great work, fast, intense, and intelligent, but less essential than the subsequent ones, even though it features good tracks like the explosive "Bottom," the grandiose title track, the sophisticated "4 Degrees," and the absurd "Sober." An excellent effort, especially considering its debut status.

And now a few lines on "Serenades": It is characterized by the typical narcoleptic slowness of the Doom/Death genre they play, yet it already showcases their trademark blend of melancholy and melody. They play with contrasting phases, on one hand delivering more traditionally Doom Metal moments, while on the other hand introducing elements of dark, Ambient, Folk, and female vocals that hint, albeit in definition, at a quest for new absurd boundaries: from the beautiful voice of Ruth in "J'ai Fait Une Promesse", to the lengthy finale "Dreaming: The Romance", and culminating in the grandeur of "Sleepless", one of the band's great staples, with its famous down-tuning. Slightly inferior to works like "The Silent Enigma" or the latest, yet despite that, it's an engaging platter. "Serenades" is recommended not only for those who already love the band and Doom Metal, but also for anyone who appreciates emotional and dark music.

Without a shadow of a doubt, my new frontier is called Krautrock. The first approach, (just like the Sigur in the post), is called Ash Ra Tempel, a band formed in 1970 thanks to the union of Klaus Schulze, Manuel Gottsching, and Hartmut Enke, and the lysergic second platter is one of the fundamental albums of the genre, taking on more dramatic connotations compared to its contemporaries: they mix electronics, prog, kraut, liquid psychedelia, and ambient, never lacking absurd keyboards, tribal ethno influences, and a deviant and acid saxophone, the soundtrack to absurd cosmic trips. A liquid and dreamlike dynamism, at times almost suspended, while at other times thick with infinite tension. If post-rock is infinity, here krautrock represents the journey towards other dimensions, another milestone. An album suitable for novices of Krautrock.

Without a shadow of a doubt, my new frontier is called Krautrock. The first approach, (just like Sigur in post), is named Ash Ra Tempel, a band formed in 1970 through the union of Klaus Schulze, Manuel Gottsching, and Hartmut Enke, and their psychedelic second platter is one of the foundational albums of the genre, taking on more dramatic connotations compared to their contemporaries: They blend electronics, prog, kraut, liquid psychedelia, and ambient, never lacking absurd keyboards, ethnic tribalism, and a deviant and acid saxophone, serving as the soundtrack for absurd cosmic trips. A liquid and dreamlike dynamism, at times almost suspended, at times dense with infinite tension. If post-rock is infinity, here krautrock represents the journey to other dimensions, another milestone. An album suitable for those new to Krautrock.

SoE after the album released last year is now mine, going back in time to also embrace "Desiderata" (2006), which still showcases an excellent level of tracks, without even a filler. An album more in your face, daring, eccentric, aggressive, and damn more impactful, but all of it is balanced with catchy and engaging choruses compared to its direct successor, featuring industrial situations and transitions. Agnete's voice is increasingly histrionic, a real slap in the face. Standing out is the first single, "My Name Is Silence," which contains all the characteristics that make it special. Another great work, highly recommended.

Sound vortex of immeasurable sensuality, lightning surrounded by vibrant passion, stagnant, suffocating yet loving airs. And through these images, one enters the glorious realm of fire and flames of "Still Life," which, together with "Blackwater's Park," is the brightest star among the others, and while B W brought the band international success, nebulous and exhilarating, "SL" is like the love of blood-red hue. Still Life is a romantic tragedy set to music that tells the tale of a man who, after many years of exile, returns to his homeland to find his diaphanous beloved Melinda, and only after a long journey of sentimental lyricism and troubled adventures will he achieve his goal. The sickly flowers of their Death Prog, created also by the sublime interplay between acoustic and electric guitars, reach levels of absolute sublimation, enough to make one's wrists tremble. The peaks are reached with the inner turmoil of "The Moor," the dewy dawn of the unparalleled "Moonlapse Vertigo," and the muddy euphony of Godhead's Lament.
Another great work by Opeth, we can conclude by saying that often sad music is also the most beautiful.

Sound vortex of immeasurable sensuality, lightning surrounded by vibrant passion, stagnant, suffocating yet loving airs. It is through these images that one enters the glorious realm of fire and flames of "Still Life," which, alongside "Blackwater's Park," is the brightest star among the others, and while B W has brought the band international, nebulous, and vibrant success, “SL” is like the love of blood-red hue. Still Life is a romantic tragedy set to music that tells the story of a man who, after many years of exile, returns to his homeland to find his diaphanous beloved Melinda, and only after a long journey of sentimental lyricism and troubled adventures will he succeed in his quest. The sickly flowers of their Death Prog, also created by the sublime alternation between acoustic and electric guitars, reach levels of absolute sublimation, enough to make one’s wrists tremble. The peaks are reached through the inner disorientation of “The Moor,” the dewy dawn of the unattainable “Moonlapse Vertigo,” and the muddy euphony of Godhead's Lament.
Another great work by Opeth, we can conclude by saying that often sad music is also the most beautiful.