lux

The Dt of the new wave revival.

Coolermaster, OleEinar practically replied for me. And I add, according to your theory Vasco and Ligabue should be considered totems of our rock, since if you walk the streets of Italy, the public hails them as gods of rock. Emotions in judging an album should play a completely marginal role. Mind you, I wrote 'in judging,' not 'in privately enjoying it in one’s own room.' Judging and listening to an album for pure personal pleasure are clearly two different consumption contexts. And regarding the seminal quality of an album... paradoxically, I even consider I&W by DT "seminal" (since it has spawned so many copycat prog power death bands of each other)... so beyond and more than seminal quality, I would look at the expressive proposal that a certain album possesses as a concrete single work. Rock Bottom was so unique and personal as a work that it represents a true culmination of progressive, and in being so personal, it has been decidedly hard to "copy" by other artists, probably (OleEinar himself pointed this out). That doesn't take away from the fact that I'm interested, yes, but always relatively (it depends on specific situations), if an album has had success even in the imagination and creativity of others.

Some time ago, I wanted to write the review myself, but I knew that sooner or later someone would do it for me ;-)

Yes, but I didn't quite understand what you think about the apocalypse of John. Initially, you said it didn't represent a lie and therefore considered it a truthful source (Old Testament). In your last post, you expressed disgust towards it because it is not certain that he wrote it (assuming it is part of the New Testament). Did this apocalypse of John come to light during Christ or after Christ?

But isn't the Apocalypse of John part of the New Testament? That the Holy Roman Church has twisted things around is undeniable; just think that Jesus Christ was not born on December 25th but a few months earlier (perhaps in September), and that being born on December 25th from the Virgin is a concept borrowed from pre-Christian cults, not to mention the ritual similarities with Mithraism. The point then is: in your opinion, who is Jesus and how does his figure fit into history?

Neu! I would add Von Lmo with Cosmic Interception (really great album). Instead, I would say that Mundus Subterraneus by Lightwave is honestly a bit annoying.

But has any of the detractors ever listened to a Cast no shadow? X-D

Alright Vic. But if you consider Christian civilization a facade, does it really make sense to quote a passage from the Apocalypse of St. John? Or am I missing something?

Addressing the issue of sentiment is dangerous. Why should we admit that anyone who plays with passion and sentiment automatically creates good stuff? You would agree with me that it’s not the case. Regarding the topic at hand, for me, the theme of music and music itself are two elements that (at least initially) must be conceptually separated simply because if the music doesn’t convince me, good luck discussing the Holocaust... (a very noble topic, of course). The idea of "ambient" noise works just fine; it all depends on how you put it into practice, in a way that doesn’t come off as too self-serving, too presumptuous, I would dare to say. Metamatic, your discourse on theory I think is undoubtedly more appropriate in jazz; I was referring to rock, and let’s say that Zorn’s avant-garde ultimately draws from rock itself in some way with his jazz rock (more so in other albums perhaps than in this one). The point is that, whether you have theoretical competence or not, an album should ultimately have a cultural significance above all else (as I see it). I wouldn’t pair Sport and Art together... if you follow stereotypes dictated by formal rules too closely, you risk giving life to pre-packaged stuff that feels already heard, in my opinion. Rules have an important role in inspiration... they must be transcended.

4 to the memories. It remains, however, an album more than sufficient.