tabba

I agree... it's what I felt as well.

what a gloomy party!!! You only had 1 CD on permanent rotation and you didn't even hook up with the girl.... not very professional... anyway, next time bring more CDs (maybe leave the Radiohead at home) and bring more lively girls.... one more piece of advice: forget about the awkward instruments/guitars, girls fall into a state of apparent death after only 20 seconds....

I mean... it’s not like anyone is dying... it doesn’t seem like such a fundamental issue to me... rather than “alternative yes, alternative no” or “freedom yes, freedom no,” I would try to help our Federico expand his musical horizons (that’s what de-baser should be for). I’m not saying to be a master... but a guide... (one exam every two months...)

I never listen to K-Rock; it puts me to sleep... then there's that DJ who goes on for half an hour with long monologues to introduce the song...

I can tell you, since I am knowledgeable in the field of "Aerosmith, Nickelback, Limp Bizkit, Staind, Evanescence," that this is just the tip (a veeeeeery small tip) of a gigantic (a veeeeeery gigantic) iceberg that might just offer you better and delightful surprises.

Faith, yes you're right, I waste all my energy on a single review, I make a big deal out of everything (in this case) because it would be pointless to carry on the same discussion in two different separate venues... it's a matter of convenience... I don't have any more against Celine Dion than I do against Dido, I put them on the same level. Personally, I don't like female voices, they annoy me (I only save 2 or 3, including Beth Gibbons from Portishead, the singer from Lamb, Lisa Frazer, and Lisa Gerrard; the rest can go screw themselves). The male voices I prefer are those of Maynard James Keenan (Tool and A Perfect Circle), Mike Patton (Faith No More, Mr. Bungle, Fantômas, Tomahawk), and Layne Staley (Alice in Chains, Mad Season).

I don't agree; for me, it's right that this record is here, that it gets reviewed, praised, criticized, and even torn apart. I would say that more than in the reviews, the true value of de-baser lies in the comments (many times, the reviews are biased and tend to cover albums loved by the reviewers). Having a mainstream album is a luxury we can afford while others cannot, and it demonstrates the broad-mindedness of the de-baser project—breaking away from the norms that only want alternative records; this means a lot.

Dear Alessandro, I picked 2 random names to make an example, a pop diva and underground stars (can I use that term?), let’s say Jennifer Lopez against Turbonegro? Anyway, back to the Melvins, I can tell you that they have been playing for more than 15 years (since the late 80s) and they were one of the bands that influenced Kurt Cobain the most, and you don’t even know who they are. They will never sell the same amount as dear Celine, and that’s probably for the best.

Anyone who makes music professionally does it for money; it's their job, it seems obvious... there's no business like show business. The difference is made by the numbers and the clientele, Celine Dion versus the Melvins: 150,000,000 against 150,000, but those 150,000 are worth much more than your 150,000,000 because the currency is different (150,000,000 lire are worth less than 150,000 dollars). Celine Dion's clients reached her through the immense advertising machine behind her, thanks to a blockbuster movie like Titanic, thanks to the Pavarotti International aired in prime time on Rai 1, thanks to being featured on all the national networks, and thanks to the fact that you can find her album in every damn record store. The Melvins' clients reach them with much more difficulty; they aren't played on the radio, they're not mentioned on TV, you can hardly find them in record stores—it’s all through word of mouth, specialized magazines, and research. This is the difference, you understand?

look, mine were just 2 words, then you brought me into it, so don’t make a fuss. bye.