Mike76

DeRank ™: 1,28

DeAge™ : 7594 days • Here since 24 august 2005

Jimi Hendrix Are you experienced?

25 mar 13

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Blues-derived rock is one of the genres I find hardest to digest, but there are exceptions, and this album represents one of them. Perhaps it's because the sound here is virtuosic but not pretentious, or maybe it's because the blues roots open up to various influences and blends that have nothing to do with blues. It could also be that I appreciate Hendrix's dry singing style, which is far removed from the showboating of various Robert Plant, Rod Stewart, or Fausto Leali. Maybe that's why I have the utmost respect for this album, even though it's light-years away from my usual listening habits.

The Slits Return Of The Giant Slits

8 mar 13

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Recovered also thanks to this review, indeed it surprised me; I expected something rougher and punk, but the tracks are surprisingly well-crafted in terms of sound. The opening "Earthbeat," with its powerful African-inspired drumming, could remind one of something from the Pil's "Flower Of Romance," but overall the album is closer to the naïveté style of the Raincoats. Beautiful, although I prefer "Odyshape." The CD reissue is rather meager in terms of graphics and packaging (no booklet, no notes, no original cover, nothing at all, just two photos by Anton Corbijn), while it is almost overly generous with the bonus tracks (five versions of "Earthbeat" are too many).

Ultravox Rage In Eden

25 feb 13

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I don't even remember why I bought it, having no great expectations (oh yes, € 4.90 for the deluxe version in double disc). The sound is that full and rich of the previous "Vienna" (it's always the great Plank, a safe bet), the compositions are as redundant as ever, and moreover, the freshness of ideas from its predecessor is lacking, with the songwriting seeming to be somewhat on "autopilot"; the energy and rhythm of the album partially manage to push the sense of déjà vu into the background, but in any case, the album is "beautiful without a soul." The bonus disc offers two interesting extra tracks and some well-executed live songs, but they’re too similar to the studio versions.

Rai 1 Sanremo 2013 - 63° Festival della Canzone Italiana

25 feb 13

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I endured it in small doses over two evenings while waiting for my wife to concede to me. One (Wednesday?) was the "Zionist" night featuring a stunning Israeli model and a performance by a fellow countryman with a distinctive and original voice. The other was the big finale where I managed to listen to the top three contestants. The Modà filled me with such pity and disgust that Mengoni almost seemed decent in comparison, and the Elii appeared brilliant.

Tuxedomoon Desire

8 feb 13

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For many, it seems secondary compared to "Half Mute," but in my opinion, it is no less impressive. The fusion of pre-rock elements (music-hall, jazz) and post-rock (electronic, experimentation) is at its peak, resulting in something completely surprising and original. "In the Name Of Talent" even seems to anticipate something of 90s techno-dance. Stunning.

Tuxedomoon No Tears

8 feb 13

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I don't know how I managed to live without it until now. "New Machine" is English synth pop a year ahead of its time (ok, Tubeway Army and The Future were already active, but they didn't sound like this), "Litebulb Overkill" establishes what will be their retro-futuristic style, "Nite And Day (Hommage A Cole Porter)" is the typical distorted New Wave cover twisted by machines, while the indefinable yet sinister "No Tears" is perhaps already the peak of their career. In 1978, it's hard to find a New Wave that is more "anti-rock" than this.

The Velvet Underground White Light White Heat

4 feb 13

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An amazing and very interesting album from a historical/educational perspective, even if from a songwriting standpoint it’s not always excellent. For example, the title track and "I Heard Her Call My Name" are built on the framework of classic '50s rock'n'roll songs; what sets them apart is the dirty, raw, and noisy sound (an element that makes this album epoch-making, much more so than the debut which only partially embraced it). The standout track is undoubtedly "Sister Ray," an archetype for much of the noise rock to come, minimalistic, anti-technician, and anti-blues. 4.5

Litfiba Live @ Alcatraz, Milano - Trilogia Tour 1983-1989, 30-31.01.13

4 feb 13

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But no, the New Wave abroad was "dead and buried" between '85 and '87, at least not for the public and record labels, even if the best artistically had already passed. An intriguing little concert, "Transea" is definitely a gem, I don't know what they're waiting for to reissue their works from '80 to '84.

Depeche Mode Heaven

2 feb 13

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Well, for me "Wrong" really held up.

Silver Apples Silver Apples

28 jan 13

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Incredible, an absolutely alien and timeless album. Electronic music focused on repetition and rhythm, practically techno music made with the technical means of 1968!! Both the title track and Contact are astonishing, with "Pox On You" certainly inspiring that historic techno piece from the early '90s by the Belgian project Return To Zero, "Dance Your Ass Off," listen and believe: