Galakordi Urtis Krat

I agree with what you're saying. I've listened to the album, all of it. It's a soundtrack, damn it. At least that. Personally, I really (really) like the tracks where she sings—"Bath," for example, is stratospheric, perfect: the geometries of that song are stunning... or even "Storm"... that one's beautiful too—some of the instrumentals are heavier, but that's because it's a soundtrack. It's not an autonomous album. So it should be appreciated in light of having seen the film. You could rightly ask, "But then why was the CD released?" and I would (almost) agree. I say (almost) because unfortunately, that's how it works. And indeed, as a soundtrack, it's even better than others I've heard. Anyway, I was saying, the "heavy" tracks, the more tedious ones, should be seen in the context of the film. They need to be contextualized. Listening to the "Twin Peaks" soundtrack without ever having seen "Twin Peaks," I assure you, is a different experience. As for the "gut instinct" approach, don't worry, I read it well. I listen that way too. I just don't like criticism for its own sake, the gratuitousness. The review came across as largely gratuitous. So much so that it almost seemed like a personal issue between you and Björk. That's all. Goodnight, and I look forward to reading your thoughts again.

the point is this, and it's also simple. negatively reviewing an album (or even just talking about it negatively) is easy. you play it safe by describing a work (a work that took effort, money, commitment, and a face), as you say "from the gut." first of all, you don't do anything with the gut except for shit and belly dancing. second, to review or talk negatively about an album (or anything else) you can't be superficial. in this case, you had the advantage of having listened to it, the album. or at least that seems to be the case. and that works to your benefit -a review of an album based on a presumption and without even listening to it would have been something to burn, don't you agree?-. I was saying, when I listen to or watch or come into contact with something I DON’T like, I immediately understand why I don’t like it. I grasp it internally in an instant. however, when I want to describe this "I grasp it internally" to someone who is NOT me, I can't just throw personal "things" at them. if I watch a movie that I think is terrible, I first understand WHAT about that movie I find terrible. do you understand? it's an OBJECTIVE matter. of the OBJECT. rather, THE object. what you did, framing the review ON THE SUBJECT, led to a sterile, disheartening result. disheartening for the reader, not for you. and regarding "style," come on. let's not kid ourselves. if you want to be bloodthirsty, polemical, and destructive, at least do it (however the hell it's spelled?) in a credible way. relevant to the things you describe, not to your gut. p.s.: I won't even consider the discussion about the 200 albums, it's absurd.

knock knock. May I? Excuse me. Hello everyone. Well. I can start by telling you that I had some suspicions (suspicion/materialization all at once, nice feeling) when you say "A soundtrack for a weird and pretentious film (according to many Cannes critics, not me who haven’t seen it)". This sentence cancels a good part of your (horrible) review (horrible). In short, are you one of those furious posers who one morning, jolted awake all sweaty, decide to shoot at someone (in this case Bjork)? Anyway. The "lightness" with which you speak about two masterpieces like Vespertine and (especially) Medulla is obscene. It seems that Bjork owed you a debt - a debt she had to pay off for a few years - and she crafted these albums for you, waiting for your response, your nod. Like "yes, ok. Fine. But now go away and never show yourself again." The review is crap. I couldn't care less about your bullshit. And so far (I think) we agree. While the part where you describe the tracks was quite exhaustive enough to convince me to get the record in question. This means one thing: you were not able to express a credible opinion. Which is why (I repeat) this review is worth nothing at all. If you have some problem with Bjork (who I don’t think knows YOU or owes YOU anything), take it up with "voiceface" (your first commenter), who even invokes the word "decency." But for heaven's sake... just stop. On this note, I have a nice remedy for both of you. Sell your stereo to someone who really needs it and go buy yourselves a Playstation. One, you know, to share between two.

I take it back (oops), sorry: I see that it's not just you who takes them (and suffers for it), but that many others do too. A lot of them, really!

It seems to me that in wrestling the hits to the head (which they give each other [and are paid for]) you end up taking. And you also suffer from them, I see.

what kind of courage is it to "demand" to listen to good music? at most, it's a vice. and if it's a vice (then) I admit to being a spoiled one. but it's not courage.

I wonder (and for once I'm serious): why humiliate yourself by writing a review like that? ah. okay. there was no need for the review. fine. I'll step back. go ahead. sorry. goodbye.

bionic you say to me?

ahahahah! What the hell are you saying?? Anyone reading this could actually believe you. And what nonsense... 1) You probably downloaded the album, and you know nothing about the book, the lyrics, and the atmosphere of coldness and detachment that pervades the entire album. This is because it’s a concept album. The record talks about dehumanization and has strong "preaching" inclinations regarding that. But you ignore all of this because you wanted to have "the chills" and you didn’t. Why don’t you take a walk instead? Or go buy the album. 2) You can’t compare it to an old work. The Massives adapt musically to historical periods (of course, in a very limited way, sure) but they have always done that. It’s a characteristic of theirs. So, there could be someone who would argue with you, "No, Mezzanine sucks because it’s not the same as Blue Lines or Protection"... but please. I think you should listen to it more carefully. The linearity you’re talking about is there, damn it, and you can feel it. But it’s part of the Massive discourse.