Mike76

@Antoniodeste: I think so, try taking a look at the Blow Up website.

@ANTONIODESTE: actually it’s called "Rock e alte contaminazioni" and it is a manual released in 2003 and written by the editorial team of the magazine Blow Up, which mentioned and briefly reviewed 600 important albums for the development and history of rock. You can also find it reviewed on Debaser, and it is a little book that deserves attention.

The review wouldn't be bad but it's copied from the "600 Essential Records" by Blow Up.

This album sounds today like the summary of the new wave drummer, written in '73 though. But upon closer listening, it’s also remarkable for the minimal, melodic, and rhythmic guitar at the same time; I think Mr. Branca Glenn from New York had "Für immer" in mind when he composed "Lesson N.1." Who knows what these two guys would have done with more money at their disposal... but perhaps nothing more than what they did, or maybe even less, as it is known that necessity sharpens ingenuity.

Thank you so much for the messages, I'm glad I was able to convey some of the emotions I felt and that Biaspoint particularly resonated with my situation (by the way, how were your concerts?). @Massicrass, were you there too? Of course, it was impossible to stay still with "Der Mussolini," and after the concert music, I preferred the autograph hunt anyway. I know one of the DJs from my area; years ago, I used to go to the venues where he played, and he’s really good (I got to know the D.A.F. especially thanks to him).

At this point, I would feel inclined to review the power electronics work of Galakordi Urtis Krat.

Great resurrection!

I don't know why, but I've always snubbed them.

I don’t give the album a 5 just because it misses the song sung with Belli and Youssou N'dour at Sanremo 2009. It would have been the cherry on top.

Listened to. The review is very well done, but my assessments are quite different. The combination of classical melody and hard sounds is not in itself a merit; indeed, the risk of falling into unintentional ridicule is just around the corner, as in the case of "Head Like A Hole," which could have been written by Bon Jovi or another plastic hard rock band from the '80s. For this reason, the first tracks, which the reviewer considers the pinnacle of NIN's art, are for me the worst, showcasing an embarrassing banality that reaches a comedic peak with the little rap in "Down in It."
It must be said, however, that the album improves in the central part with "Something I Can Never Have," which is more expanded and atmospheric, and "Kinda I Want To," which at least is less linear, and improves even further with the captivating techno-dark anthem "Sin," followed by "That's What I Get," where you can hear Depeche Mode with a lesser vocalist and where the cloying hard rock-style singing is finally abandoned. With the last two tracks, the level drops again. Ultimately, it's an album that largely limps in terms of songwriting, although the sound is polished and convincing. Rating 2+