Undying

I respond to your comment, Filippo: What do you mean by "being at the top"? I ask because I'm afraid your answer will be selling millions of records, and then I would remind you that at the peak, there have been more than all the Spice Girls, the Backstreet Boys, *NSync, and the like, more than the Maiden. If you speak to me of stature and musical quality, the Maiden represents the slavery of stereotypes that are reiterated to the point of obsession and, indeed, to the point of anachronism. Just to clarify, Iron Maiden were already outdated in the late '80s; it doesn't even matter to come to the '90s. But aside from this example of crystal-clear clarity, it's precisely your words about the review that I disagree with: it’s that soul of rock that is dead, not just that rock from a more musical viewpoint. Dead and buried. Do you think it's of high caliber to recycle the usual cliché of the old-school rocker in THIS world we are living in right now? In the darkest crisis of humanity, during the decline of civilization? Nothing against the Darkness, but let's keep the praises in the drawer, and let them play some covers in the pub. P.S. I’d also like to know what you mean by commitment in relation to Tom Waits' poetics. Political? Distributor of values?

Oh yes, a perfectly fitting record I would say almost ridiculously genius for dear old Aphex. A cover...that sends shivers down your spine.

The most sensible part of the review is the no vote. Because a record like this, while completely honest, would have made much more sense if these jokers formed a cover band. What you should understand, Filippo, is that nothing needs to be reborn: the rock you talk about, which made history, indeed made history, and rehashing it now is pure and carefree anachronism, like those pub rock-cover wannabes, if you know what I mean. Music dies in the opposite sense: when there is no EVOLUTION. To hope for rock, one must focus on the NEW—new that also means looking back, drawing inspiration and lessons, but only to aim for new languages and new syntheses. Look at Iron Maiden, for example: twenty-five years of doing the same tired crap, always the same, always fools, now pale imitations of themselves. If there’s no evolution, music dies. Think about these words. Forget about revival. P.S.: Leave Tom Waits alone; it’s for the best.

One of the highest expressions in the history of music. Pure and raw, the suffering of a man raised to the universal. Poetry, darkness, musical insights and innovations that have made history.
This album captures an eternal truth, the eternal pain of existence, worthy of an Aeschylean tragedy. That said, it's a vile and childish review, full of nonsense.

Look, we’re not very far apart... besides, by telling you that he’s not my favorite guitarist, I’ve implicitly communicated what you just wrote, that is, my sensitivity prefers expressive aspects in which Hendrix wasn’t – due to both the era he lived in and his subjective characteristics, why not – the greatest.
This doesn’t change the fact that if you consider everything as a whole, his qualities and his contribution to the history of music, it’s not exactly as you say: the most important. Yes, maybe I expressed myself poorly before: not "the greatest," but undoubtedly the most important.

Donjunio, you are truly a guarantee, you never miss a review. Congratulations indeed....
Great album by Young, maybe the last one.

In response to your question, no, I don't know who you are... why should I? Regarding your comment, if you know Hendrix well, you can see for yourself what he achieved in every area you mentioned: sound, feeling, lyricism, etc. With this, let me be clear, I do not claim that no one should ever play the guitar after him, but to deny that he was THE total electric guitarist is pure, dull historical revisionism of low quality. By the way, if it matters to you, he's not my favorite guitarist.

It doesn’t even matter to explain, Marco. It’s so obvious to see that Hendrix doesn’t even have the slightest comparison with any other guitarist in history. For the good of those losers Malmsteen and Satriani and the other six-string wankers. This is about magic, sacred art, vibrant and burning expression, not about days spent with the metronome in your headphones untangling your damn fingers. Hendrix didn’t even know what a scale meant, and just look at the result. He was born for this, and you can’t reach that. Like Mozart, Beethoven, Shakespeare, and giants of that kind. The world is full of technical people (unfortunately), but a deity is born every hundred years, if we’re lucky.

What a sadness: but why decide to publish a review when you copy and paste from ondarock? Check the Suicide's page to believe it. I hope that 15 is your age, because otherwise you would be quite ridiculous.

I wonder why the hell you spent 60 euros to go there if your brain is fried and you can’t pick up sound waves, among the most precious by the way. Pathetic.