lux

Never conceived. Several albums by the Melvins (like this one) could be summed up in the expression "I would like to but I can't."

Yes, indeed Rush are pioneers of prog metal, but they aren't officially. Just like Sabbath are pioneers of doom, but not officially. Regarding the more metallic edge of WDADU, I think it's simply an album where the instrumental and virtuosic technique is highlighted even more compared to PS, with all the downsides that come with it...all the more reason to consider DT as those who have officially established prog metal.

If we're talking about prog metal, no Adria. Perfect Symmetry (where it's said that they start to become more progressive) and When Dream And Day Unite both came out in '89, and moreover, they influenced each other, FW and DT being on good terms with one another. I can't consider the Queensrÿche of OM as progressive, nor progressive metal. Hard rock/heavy they are instead, as Emanuele mentioned. Finally, absolute precursors, Rush, as Dreamwarrior pointed out.

Oriò, beyond the topic of Adriano, I’d like to revisit a passage of yours: "Let me explain to you, in this Transatlantic project there was NO INTENT OF ORIGINALITY... THERE HAS NEVER BEEN ANY DESIRE TO BE ORIGINAL." You’ve perfectly captured the point, and that’s why I consider it an absolutely useless album as well. There’s a ballad (track number 2 perhaps, I don't remember well) that represents the quintessence of what a ballad should not be... and indeed it has an American, polished flavor to it.

Greetings to you, dear!

Well, if that's the case, Charlie Watts, even the songs by Eros Ramazzotti have great arrangements. The point is that they have only that.

Manu, I understand the attitude... which seems to me essentially the same. Beyond some influences that differ from the Dt (Between The Buried and Me also draw from techno death), it's the way of surprising the listener that is similar to that of the Dt. Sudden changes in genre within the same track, changes that honestly have nothing to do with each other, but are presented just to show "that they can do it." There are some guitar solos that send chills down your spine for how similar they are to Petrucci's (one of the latest songs by Alaska, in particular, has them). And then the main point: BTBAM do not blend different genres, but simply play Death, then prog, then folk... at most Death and prog together, but in a canonical way, as if they learned from the "Good Progger Musician" manual. Just like the Dt, after all... in short, the "evil" for me is precisely that "refinement and elegance" you talk about... for me, they are just superficial! :-)

I don't quite understand why Verdena should be so terrible as many claim; my ears tell me that, in this case, we are facing a decent album, sometimes pleasant, other times a bit less so... but come on, they are certainly not the evil of Italian rock. Additionally, they don't sound EXACTLY like any band they draw from, all things considered. Aside from some distinctly stoner influences (which is not a crime to have).

"'Nel perdono' written by Renato Zero is a tribute to Italian music: angelic, composed of short verses with the same interval, and Albano sings freely (now that he doesn’t have to keep pace with Romina Power) and can chase legends like Cocciante or Ranieri, especially in the chorus with a backdrop of choirs, sharing the task with strings and piano." .....but really, that's enough now.

I find Alaska to be a decidedly mediocre album. I will never understand those who denigrate (rightly so) DT, only to praise a band like this, which has a fundamentally similar attitude to that of DT. The review is well written, but I don't agree with anything you say.