lux

Bullshit DOC!

The concert last night in Milan: I attended two live performances, first the Low in disguise (first 40 minutes) and then finally Yo La Tengo (Flying Lesson, Double Dare, Watch Out For Me Ronnie, Sugarcube, Little Honda... so much great stuff). Two thoughts: Georgia was sublime and James clearly seemed upset about something, who knows what...

Is That Enough the worst, Ohm and Cornelia and Jane the best. Tomorrow everyone in Milan!

Very nice, too bad about a few forced lines that feel a bit out of place.

I say we take off and nuclearize this review, yes.

This immense hype for MBV, the thunderous reception the web has given them, the shadows of bimbominkia lurking over the band's future, the childish track-by-track reviews worthy of Truemetal are making me feel nauseous. My Bloody Valentine are not Muse, for heaven's sake. Here’s what the web does: it first brings you closer to the uniqueness of audio/visual art from the last century and then, when the ground becomes fertile for a slightly more massified distribution, it spits it back in your face in a heavily revised and corrected version, cleansed of all its original roughness. The important thing is to idolize the fetish, the idea, the memory, the image of those four unknown assholes who almost 25 years ago became, with a couple of albums, one of the three best and most important bands of the last 30, 40, 50 years. The web first gives, then takes away. And, funny enough, we haven’t seen any interesting and original movements or currents in modern music — let’s call it rock — since everyone got an internet connection at home (if anyone knows of any, please suggest them so I can catch up). We are cultivated concerning the past, dead as far as the present and future are concerned. I am nauseated, even towards Shields though. That big pain in the ass Shields. You don’t touch the legends. You’re an asshole and your shitty site is clogged trying to download an album from 9 shoegaze corpses (let’s just say 7) played with the same conviction with which Berlusconi claims to be the only credible politician in Italy. Those feedbacks, tremolos, and fake, messy reverbs wouldn’t even stir a feather. A piece like New You is chilling right from the title (not that the others are better...). I’m forced to read that MBV is better than Isn’t Anything and even Loveless, but I can’t say anything to anyone because we’re in a democracy and everyone can say whatever the hell they want, and if I provoke, I’m the one in the wrong. Sorry, I held out for a few days in the guise of a diplomatic user, I managed for a while because my controversial spirit is totally out of shape compared to years ago, but tonight I felt sick about how one of the most brilliant legacies music history from the post-war period to today has been treated and allowed to be treated. I apologize if I disrespected anyone.

Yes, but it's also a lot of nostalgia. Aside from a couple of tracks, the rest feels like it's straight out of the early nineties, and releasing it today in 2013 seems a bit like a joke... Personally, I didn't need a work that necessarily reminded me of Loveless, but rather a good album that didn't blatantly ignore what happened between '91 and now. For fans.

I thought: calling this job "nice" is like calling Briana Evigan cute :-D

I'm listening to it repeatedly in preparation for the concert in Milan... At first, I underestimated the ethereal atmospheres of the album, but I must admit it has a hypnotic power of its own. The first part of the work is truly dreamlike. Fantastic sound.

All of this will end one day, don't worry.