mayhem

I have to feel this, the previous works are excellent... I join Fidia in the review free from the usual genre stereotypes...

Hi senmayan, I might come off as snobby, and that may be true, especially when I hear the usual banal clichés about the same well-known groups. That said, I find the Sabbath extraordinary (maybe more in "Sabotage" and "Paranoid" than in "vol.4"...), but we need to be careful (and I repeat what I wrote in the last post) not to barricade ourselves behind the (fake) "certainties" that this brings. In other words, those that lead you to say, "Well, I've listened to the BEST, so now I feel entitled to snob everything else" (that, indeed, is called snobbery). In short, I'm not the type to praise the underground because "it's cool": there are classics I adore, but I don't limit myself to just those. For example, I like metal in almost every form, but at the same time, I dislike stereotypes: saying that the Sabbath are the precursors of the genre is reductive (at a certain point, for me, the precursors of metal include the Steppenwolf, just to indulge in further "snobbery"!). In the end, what's so snobby (or worthy of a fool!) about saying that people often listen to the usual suspects, without considering that stores are full of equally genuine artists to (re)discover? I hope I’ve made myself clear...

By the way, I heard something from that album you mentioned and it’s truly remarkable :)

hello... 1) The "masterpieces" you refer to, apart from striking exceptions like "in the court..." by King Crimson and very few others, suffer (in my opinion) from the flaw of being VERY difficult bricks to digest, even if technically excellent. The difference of Banco from many illustrious colleagues is perhaps "simply" this... 2) I just realized that the cover is wrong... I’ll take care of it as soon as possible.

I had no previous knowledge of Candlemass, so I get the suggested tracks and go to listen... I hope it's a "quote," but if not... I'll have to rewrite the review :)
truly a noteworthy mention, I hadn’t found any flaws in this band yet...

... so the fact that you mention them means he copied :) ?!? at least he admits it ...!?

Very straightforward, at times even easy-listening, while one might miss the Voivod of Nothingface: in fact, our band has shaped a well-crafted post-metal, although lacking the crazy acrobatics of the past that made them unique. In any case, a more than worthy work... good review.

I believe that "Seventh Son..." is indeed one of the underrated episodes of Harris & Co.'s career, but we are still far from a masterpiece. Too many tracks, although often performed live, sound a bit too ordinary, particularly much of the incisiveness has been lost along the way: in my opinion, we are in a "hybrid" phase, which will express itself at its best only a few albums later. Without wanting to insist on having wanted to review an hyper-classic album, I would say you spoke about it in somewhat too generic terms. Certainly "Powerslave" and "Number of the Beast" cannot be evaluated if "Seventh Son..." is worth 5/5!

@ReneMartin: "Historical-cultural notation: also based on the title (the sadly 'famous welcome note' at the gates of Auschwitz), it is evident that the downed Zeppelin is the German airship 'Hindenburg' from the 1930s, taken as a symbol of the Nazi regime and ideological dictatorship/fascism in general." Let’s talk about it now :)

The album closes with L'abbattimento dello Zeppelin: noise, electronic explosions, howling saxophones, saturated guitars, contemporary vocalism, obsessive jazz, and a j'accuse: "The piece took aim at the inflated egos of Anglo-American rock. Nothing personal against Led Zeppelin. They simply paid for all the others" (Fariselli).