lux

I could suggest that you change genre and abandon prog-metal (and DT). But first, I recommend A Picture Of Nectar by Phish and Erpland by Ozric Tentacles, two albums that approach progressive in a way that's definitely more original than this SC abortion.

Mike, forgive me for returning to the NIN issue, but I have a doubt. At first, I thought you were biased against Trent, but now after reading your comment on the Red Hot review, I think I understand your perspective better. I have the impression that when judging any album, you almost completely disregard the artist's personal interpretation (which I consider a fundamental aspect) and solely focus on the objective innovation that, if present, earns a high score; if absent (or more or less absent, let's say), you're inclined to tear the album apart. Essentially, those who do not innovate are mediocre. Obviously, seen this way, an album like Pink Moon by Nick Drake would be mediocre because it came out a few years after Songs of Leonard Cohen (to give an example). Or Nick Cave would be a joke because he always drew inspiration from Cohen. Let me know if I'm wrong.

I don't know, it seems to me a mishmash of "hardcore electronic breaks and claustrophobic samples" (as Robyco says) without any sense, absolutely just for its own sake. And then Capitol G, guys... it's embarrassing! He looks like a little bourgeois drunk pretending to be alternative... poor Trent, can you believe one has to wish for him to start using drugs again, huh?

I listened to it again after years and years... a real bomb, I like it even more than before! Fred Durst was really angry and the drummer is a force of nature...You take a dash for my cash it's your ass that i'm Blasting boy you wanna play that game bitch!!!

I wouldn't turn this into a discussion about usability. Purpulan (after all, it's not like we're facing a Well Oiled, which is truly quite unusable), we have here an album that, for me, is heavy not because I don't understand what Ian Curtis is trying to convey (his state of mind is evident), but simply because he expresses it in a cloying manner, excessively theatrical and thus self-serving (you talk about solipsism and I say exactly that, solipsism leads to rhetoric and self-aggrandizement!). Let's be clear, it's not a priori a mistake for the artist to place themselves at the center of the universe (Trent Reznor did the same with excellent results, for example, up to a certain point); it's a mistake to translate this legitimate desire into music in a self-celebratory way, risking to appear redundant. I prefer Unknown Pleasures because it's less cryptic, indeed, less "snobbish" at the expressive level, less self-serving! I can only conclude with a "De gustibis non diSCOZZATUM (diSPUTANDUM..) est!"

I agree with sanjuro about the Bungle (somewhat overrated), but I don't agree about Faith No More, as I believe they have produced good/very good work. This is perhaps the best album by the Bungle (and the least cerebral and rhetorical, with drier tracks).

No way, you're an Inter fan...!

Nice joke about the nickname ;-) Just to let you know, I actually like Unknown Pleasures much more (so I don't renounce the dark a priori, quite the opposite..) because this album has a pathos and an emphatic attitude so exaggerated that it essentially ends up being self-serving (therefore rhetorical). I mean, do I have to check if the artist committed suicide to judge an album? I would say no, don’t you agree?

Well, I would say shame on you for showing yourself to be at least obtuse in this case. Comment on the album and the review, not the comments (if you aren't able). And don't come telling me that Ian Curtis went through hell and poured his soul into composing this album, because honestly, I couldn't care less. I don't judge albums by the "passion" with which they are composed and by the motivations/intentions of the author, but rather by the final result produced. Moreover, I've added a "in my opinion," so I don't see what you're looking for.

3 to the record..