ngw

I didn't mean to take such an angry tone, sorry :)

Come on, every time there’s feedback, the SYs pop up as if they own the copyright. To me, Fugazi are the “post” evolution of Minor Threat, combined with the various experiences of the members (Embrace, Dag Nasty); you can easily sense their embryonic state even in the last EP of Minor Threat. Repeater could easily be an Embrace record (and vice versa). I don’t hear a hint of emo; I hear tons of experimentation and very cold and honest lyrics, without the typical pathetic takes of emo-core. I’d like to recommend the band where good old Picciotto ended up, for a couple of years my favorite active group, Blonde Redhead, with that wonderful stuff that is "La mia vita violenta" (but they’re all great to me). My favorites are Repeater and End Hits, both 5s, which has happened on 4/5 occasions in my life that I’ve given top marks to two albums by the same band, but one characteristic of Fugazi is the sometimes total variation from one album to another, so ...

Fuck it, I read Replacements and I understood Residents. Yeah, Replacements and their gang are fine, but there's a difference between being inspired and just taking. The Huskers, absolutely not, neither the first nor the second nor the third. Maybe, but being inspired by the Huskers is tough, too complex and sentimental for today’s fools; there's completely no aspect of exploration, and the desire to strike with something different than a jerk with dreadlocks banging on a drum.

I don’t really know where you hear the Huskers and Replacements in Dookie; to me, the GD seem like the negation of the deconstruction work of Husker Du and Replacements. In fact, if you could enlighten me, I'd appreciate it, as there's always time to learn. "Corporate punk" doesn't refer to the label, which is a mental exercise I’m not fond of either, but to the impoverishment of punk, the total absence of the fundamental concepts of the phenomenon, retaining only the musical aspect - the term is also used by Guglielmi, for instance, and I wouldn’t define him as a hardcore purist. I don't get into discussions about labels; I mentioned Lookout simply because, as a label, it produced some of the worst punk bands I know, as well as many of the best—in short, it produced everyone. What you forget about the Huskers is that their revolution and 90% of their impact is internal, not external. Anyway, these are just preferences; I particularly hate the GD, and you hate Blink.

I had the honor of getting to know him truly after a Fugazi concert, him and Lally. In fact, he is righteousness embodied, genuinely sober, truly a unique man, who displays his confidence without making you feel uncomfortable. What you don’t understand, and what I have written, is that Minor Threat was a groundbreaking movement, even against the stereotypes of punk at that time. Getting something into a punk's head without taking extreme positions is impossible, and that’s exactly what they did. The message is "if you behave like dogs, humping any bitch or licking anything in sight, you will be treated as such."

Alright, can I get a "thanks, but no thanks"? According to your reasoning, I should say that Wyatt is overrated because "End of an ear" drives me crazy. If you don’t like it, you don’t like it, and that's okay, but objectively Siouxsie wouldn’t have crossed your mind without this little record, just like all of new wave, because it’s hard to build something if you don’t give it a good kick first. You can't exactly propose Echo and the Bunnymen if people are expecting the pincfloi.
One of the side effects of this record is the stereotype of "punk" that can't play, that if you don't have a mohawk and a safety pin then you're not punk, but never mind, it's enough to dig a little deeper for these clichés to disappear. The reason for their success is that they were in the right place at the right time – Rotten sings very much like Richard Hell, just listen to "Blank Generation." The social pressure from Mrs. Thatcher made a big change necessary; there were the Pistols, with the charisma needed to bear the weight, at least for a year. The rest was done by the superb style, that of album covers and posters, the clothes – let’s realize that in that year, unemployed people were roaming around London smashing cars in the street, in the North miners were dying without any protection, the IRA was causing chaos left and right, the English in Ireland were causing chaos left and right, heroin had arrived and everyone was using it – doesn’t a "no future" come to your mind?

Among other things, Rotten's mere career should speak volumes about how overrated they are: the Second Edition by PIL is simply the most important album of the entire dark-wave scene, alongside JD.

Overrated *by whom*? By Joy Division? By Siouxsie? By Buzzcocks? By The Clash? By The Damned? It's the first milestone of punk; was anyone expecting slop like Dream Theater? I mean, it's interesting to understand who these "overraters" are, and who the enlightened ones are instead. Thanks, eh :p

Really good band, 90s dark-gothic, alongside the plethora of semi-obscure groups from a movement that hardly anyone cares about anymore. Psycho Magnet is definitely not a bad purchase; I quite like it, even though it's certainly not a masterpiece. In my opinion, you can find it at a nice price too.

I literally go into raptures over Pink turns to blue.