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What I wanted to point out to you, dear Mr. Jeremy, setting aside discussions of a personal nature ("whether I like the group or not," for instance), on which it is practically impossible to delve in this context (the infamous De Gustibus), is simply that (in response to your question) Deftones are nothing more than yet another band that is the result of what the "market (of listeners) wants to hear" (in this sense I have defined them as POP): that is to say, music (I don't judge it, as you can see, objectively) that transcends any consideration of reality/innovative impulse. (I would also like to remind you that they have always been signed to a major record label). Best regards. Your S.C. of (dis)trust.

Forgive me Mr/Miss Jeremy... not to revisit the topic, but a classic De Gustibus fits wonderfully.
I ask you (without any presumption): what do the Deftones sound like to you? Once you’ve settled your answer, I would also like to ask: what do the Canadian band NomeansNo play?
Once you find the answer to your kind question, you will automatically discover the reply to your initial question about what your (beloved?) Deftones actually sound like.
Best regards. Yours sincerely, your (dis)trustworthy S.C.

What a great (and truly timeless) album... damn, I thought I was the only one who had preserved a vinyl copy so carefully in all of Italy (let's say Sardinia...). Well done, Mr. Andrea, truly a nice (if not too difficult) generational recovery of yours. If only MTV had stopped (right after the opening clip of "Video killed...") broadcasting everything-that-followed, it wouldn't have turned out to be so bad (today it's practically unwatchable). Your S.C. of (dis)trust.

Very good. Unfortunately, the work in question (like many others that you have de-reviewed) is not known to me: I will urgently try to remedy that. Your S.C. of (dis)trust.

The "TWO" in the record should be understood as a reflection of the overall quality of their proposal (according to the breakdown... of course). Re-greetings Re-cordial. s.c. of (d)istrust.

Definitely one of the most (unjustly) overrated realities of the entire MTV-POP/(pseudo)ROCK scene (because that’s what it is, after all...) wandering through the starlit lands. Few and sparse ideas (even less attractive) and a lot of musical "fluff" characterize the performance arcs of the band in question (…clearly, a BEL de gustibus is nothing short of mandatory). I haven't (yet) listened to the cover album... but surely a couple of (albeit successful...) covers (practically miraculous) won’t lift the qualitative fates of the "A-sides" of their rather scant discography. A more than cordial greeting. Your S.C. of (dis)trust.

Dear Mr. De-Reviewer, Mr. Mc Sampyr... But I ask you, how is it possible that this monumental, historical, unique work is given "only" 4 out of 5...(de gustibus): poor Demetrio... (a kind of RAP???) must really be turning in his grave. He put in the classic hard work (extremely tiring and pushing the limits of human endurance) studying diphonies, triphonies to leave... what he LEFT US (because all of this is STILL REMAINING) and... it’s dismissed with barely more than a meager, abundant, more than sufficient rating (de gustibus Part. 2): I-N-C-R-E-D-I-B-L-E. An INSANE LIVE PERFORMANCE! WONDERFUL! SUBLIME! UNDESCRIBABLE for intensity and emotional involvement. Huge AREA, incomparable and great DEMETRIO.
Let’s not dwell, I kindly ask you, on sterile current/ugly para-political rantings. We would truly be doing a huge disservice to this GREAT REALITY that was, that still is, and that will be inexorably, until the end of time. Best regards (even without a clenched fist). Your trusted S.C.

Dear Mr. Qzerty, intrigued by your "little jab" in the de-commentary regarding the Minimum/Maximum Kraftwerkian, I also stopped by to view the Bartosian de-review from a Qzerty perspective. What can I say: (I’m sorry but) I don’t agree (practically) with a word of the critical concepts expressed (De Gustibus, let’s always keep that in mind) about the recent (bland) Bartosian return: (I believe and hope you won't take it badly) it’s nothing more than crude-insipid-repetitive-Kraftwerk muzak worth less than a dime. This does not prevent me from positively evaluating your writing style, as a true enthusiast of Kraftwerk music (in this case, Bartos muzak). I wonder and ask you: when they composed "Trans-Europe Express" or "Radio Activity," etc. etc., was the innovative/exploratory spirit (similar) to that found in these (truly tiresome) microgrooves? I believe and hope you will agree with me, emphatically, no. Kind regards. Your (so to speak) S.C. of (un)trust.

Dear Mr. Qzerty, I note with great pleasure that you (soon I may switch to the more formal "Voi") appreciate the exchange of opinions (and this can only make me happy); let us initially reiterate (since it has not been weighed with the proper consideration) the sacrosanct "DE GUSTIBUS". That said: I regret that you may have had the impression of pseudo (wrecking) pedantry; if you perceived it, I am more than sorry (that was not my intention). I will address your points/criticisms (always welcome, as long as they do not transcend into unjustifiable musical hysterics... though it does not seem to be your case) one by one; I speak clearly as an "appreciator" of Kraftwerk-Musique: in this sense, I would have used the term "unjustified absence", that is to say, any music enthusiast would expect that their favorite musicians occasionally remember "them", you know how the God Chronos is a nasty and unbeautiful beast and does not always allow one to pick up (as has happened, in my indisputable and personal opinion) the thread from where it was left... Second aspect: you will agree with the wrecking piece, (and if you do not, I will find a way to come to terms with it) that the recent return of Mr. Bartos (coincidentally contemporaneous with Kraftwerk...) is composed of sufficiently tiresome and trivial kraftwerk/MUZAK (...and here too, "de gustibus" fits perfectly): I certainly do not hope for a return of Herr Bartos "in these pathetic conditions", I would have simply said (re-read if you please..) "..some of the most refined pages of Centrale elettrika were composed by a certain Karl Bartos..." which seems to me a completely different matter, specifically referring to the current presence of the newcomers (puppet-cloths) entirely detached from the group's writing process. I assure you that the wrecking piece is NOT serious at all... just a humble listener of good music (when I find it..) and nothing more. Regarding Expo 2000 (which I obviously own, not to mention..) I would extend the nth De Gustibus: it does not say much to me: better if it represents something intriguing for you: you will have the feeling of not having thrown money away carelessly like the wrecking piece. I greet you warmly. Your S.C. of (dis)trust

Esteemed Mr. Qzerty, I presume that you, as the written-smasher, admire/cherish the four young (to put it lightly) sprouts in question; the two tracks you cited (please reread my de-comment, please) are perhaps the only ones worth noting in the (pseudo)flatness (FOR THEIR HIGHLY ELEVATED BUT BY NOW ANTIQUATED, STANDARD) in general. I assure you that Electronic Music (as you define it) has been one of the genres in which I have placed and continue to place the greatest attention and trust (not the only one, clearly). Henning Schmitz and Fritz Hilpert (and certainly not due to any fault of theirs) are, sadly, miserable supporting characters: do you really think they count for anything on a compositional level within the Band? I remind you that some of the most refined pages of Centrale elettrika were composed by a certain Karl Bartos (now devoted to the crassest summer dance-hall kraftwerk revival): this absence (in my humble opinion) is quite palpable… Here it’s not a matter of Laptop or other hellish (and musical) contraptions that our artists are undoubtedly excellent manipulators of: what’s missing is the so-called INSPIRATION, the soul, the SUBSTANCE (a nice de gustibus, nonetheless, always fits wonderfully). According to the miserable destroyer, after all this (endless) silence, WE DESERVED much more (at least for the trust/blank check granted ad infinitum). A cordial homage. Your S.C. of (dis)trust. P.S. I adored/loved/idolized Kraftwerk. (period)