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DeRank ™: 39,03
DeAge™ : 7567 days • Here since 25 september 2005
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Mordred In This Life
Mordred In This Life
3 nov 07
Voto:
Feel it (indeed)! Beautiful (rather: fitting) De-Recensionem! Back then it was a little gem for our ultra-metal-swollen ears.
Morgoth Odium
Morgoth Odium
3 nov 07
Voto:
Please don't take it the wrong way, virghola, but in my personal (albeit empty, of course) point-of-(s)view, they were quite negligible {to call them "historic" - unless you meant 'historic' in the sense of belonging to the past - seems a tad of a de-[h]azzard}: on Teutonic and European soil there were far more interesting death-reality (in the same period). De-(Metal)Gustibus. Respect mixed + assorted.
David Cronenberg Eastern Promises
David Cronenberg Eastern Promises
1 nov 07
Voto:
@De-Fidia: if you allow me the debate (I don't know exactly which parties you belong to): such metrology of which your Excellency claims measurable objectivity seems a tad (let's say so..) fallible. That is, since the world and the world, this (the aforementioned para-reproductive "measure") is not necessarily so objectively categorizable (don't you think?). To give you my personal example: being decidedly not very tall (let's say a semi-dwarf) [!!!] for Dante's contrapasso (as is well known, the two "things" are often inversely proportional) I have "other measures" of a certain congruous height: therefore (for example) she (Watts, whom we mentioned earlier) around here would be tall indeed, if not more than a meter eighty {One meter + "the rest"}. :D Got it+you+have? Best regards to the measure-skertzettatorei à josa. P.S. Stay Brùtal! (pt. 2)
Quo Vadis Forever
Quo Vadis Forever
1 nov 07
Voto:
What I wanted to say, my dear, truly courteous and hospitable de-Friend, is that so many sound typologies/particularities (technicality and melody) although now frequently applied do not properly belong to the de-gender in question: let’s say almost that, perhaps over-dramatizing, they are the relative "negation" of it. The early works (the ones on which, so to speak, I was "(un)formed") of Bathory, Celtic Frost, Death, Possessed, and so on (which were fundamentally based on Thrash metal taken to the extreme: let’s say proto-Death Metal ante litteram), carried with them a (let’s say) music-cultural message of total dismantling of the convoluted executive quirks and the histrionic melodic-vocal and executive onanisms that were all the rage at the time (let’s say the second half of the eighties, for clarity). The fact that today (let’s say yesterday, well... after all, the album you are discussing belongs to the last decade) it is also possible to create an interesting album (as you claim) filled with "melodies and death-technicism" [as far as I'm concerned, one for all, "Slaughter Of The Soul" by At The Gates which also has about a decade behind it, if not more] (frankly, I haven't heard many in recent years: but this is a "my problem") might hold some truth, but personally (I repeat) it seems to me a rather barren path, fine à soi-même. In any case: in the (remote) eventuality that I get the chance, I certainly won’t hold back. As for the absent de-votes to the de-rece, having (alas) finished my studies a ton of years ago and not retaining overall very substantial and satisfying memories, I would prefer, if you allow, not to assign any: the fact that I am here, very boorishly commenting seems to express more and better than any numerical vote my interest in your anyway appreciable de-page. Truly taking my leave, I would extend a friendly and transgenerational de-obsequium.
Quo Vadis Forever
Quo Vadis Forever
1 nov 07
Voto:
It will be, Dear De-Friend Monsieur Emanuel, that I come (geologically) from another spacetime era compared to you, but personally I have always understood (having been an avid user decades ago) Death Metal as a convulsive, thick [in the sense of substantial] blanket of inhospitable, crude, pestilent, disarticulated, a-melodic, ignorant, asphyxiating, uncompromising sounds that (ça va sans dire) are extremely engaging. Therefore, (honestly and even without knowing the album under examination) I find it hard to understand how the adjectives "technical" and "melodic" can be interspersed and attributed with intelligent reasoning in a similar sonic context. That this is a genre (now + just take a look at the case) artistically dead and buried [that it continues to be played by hundreds/thousands of new Metal bands doesn’t mean it is alive and well, unfortunately for us] that has been unnecessarily closed in on itself for several years (except for truly rare exceptions) and for this reason some representatives attempt to find new paths by resorting to elements - the technical sound and melody - that were heralds, precursors, and forerunners of death, essentially returning [there's nothing wrong with this, to be clear, it just feels so much like a dog biting its own tail] to focus their attention on stylistic elements from which Death Metal originally emerged as a demolisher. Another note: reading for pleasure almost all the de-reviews of metallized groups and factions: is it possible that they are all or nearly all advocates of Great-Irrevocable-Masterpieces? Wouldn’t it be appropriate to approach the works under examination with a more critical attitude and objective de-oqulate quality (for the sake of those who enjoy records of this genre)? Well, I won’t bore you any longer: I would remove myself if you don’t mind (and I believe you wouldn’t mind) the disturbance. Goodness, I’ve written a semi-epistolary treatise!! I beg your pardon. Arch-metallic regards to josa.
David Cronenberg Eastern Promises
David Cronenberg Eastern Promises
1 nov 07
Voto:
Stay Brùtal!
Dungen Tio Bitar
Dungen Tio Bitar
31 oct 07
Voto:
It seems quite interesting (it seems). Very well de-scripta/interesting page. As usual. Moderately deferential ossequi à josa.
Vanadium Game Over
Vanadium Game Over
30 oct 07
Voto:
I beg your pardon, Messer Divinamente-Battagliante, but (at least for the sake of completeness) "Corruption Of Innocence" (1987) [perhaps the best work of the entire career, even though it was affected by the poor production by the American Jim Faraci {who was responsible for the works of Ratt, Motley Crue, etc. at the time}] is not even mentioned?
Gene Simmons ***hole
Gene Simmons ***hole
30 oct 07
Voto:
Will our Baciato-Hero manage to win the award for the most de-tamarra cover of the year? To the hanging posters (as usual) the hard sentence.
Bathory Nordland II
Bathory Nordland II
29 oct 07
Voto:
"One of the most important musicians of the last century..." but don’t you think, dear, that such a phrase is just a wee bit slightly exaggerated? In doubt, I would extend a solid and old-metallic respect.
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