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You don't command anything to me, you fool. Is it possible that Trent's career is divided in two? Is it that until The Fragile his works had a certain weight, and AFTER The Fragile he became a ridiculous puppet of his own sounds? Is it really true that when he composed TDS he was on drugs, and then he got clean? Is this such an insurmountable concept for your warped mind?

"You’re right, panzer, but come on, the context of TDS is pretty well known." ------> Really, it doesn’t make sense in Italian, especially if it’s supposed to be a flaw of TDS; what kind of flaw is “being known”? What are you talking about? In the meantime, I'm waiting for you to respond about why my sentence “at the end of the day, it sounds electronic” would be questionable; I’m really struggling to understand it. I will never give you the satisfaction you’re looking for, you who set the timing for my response... haha, what kind of movie is this!

You want to brush it off as composition ahahah, but you think you can fool me, you young punk? Do you really believe that TDS is considered a masterpiece only by us debasers? Now, realistically, are you aware that you're attacking a ridiculous notion about one of the most important albums of the past decade? And what is it that you would have explained? What? Ah right, you just limited yourself to saying that "I’m talking nonsense." Your explanation is so thorough, and then you also want to dictate the response time... but what does it even mean to "wave his problems to the four winds"? Trent talked about his paranoia in HIS work, not that I understood what crime he would be guilty of. Whatever.

"You’re right, panzer, but come on, the context of TDS is quite known" --> but what the hell does this sentence mean? Italian has delivered a full-on uppercut to your chin, it seems.

"Eeeetciù, PHM resonates with the humus of the '80s and EBM, but, just to change things up, it is superior to ANY work by Depeche Mode. In some respects, it’s even superior to The Fragile." ---> I really don’t see what’s offensive about that; it’s my opinion and I’ve expressed it as such. And I’ll reiterate it until the end of time if you want. The first one to resort to expressions like bimbominkia was you; it’s tough to admit you completely misjudged your approach to others, huh?

Dissonances, this one... obviously I meant expressive dissonances, of meaning, of always cultural rupture, I certainly didn't mean to invoke Schoenberg (in fact, I also used the term disturbing)... and anyway, I fiddle around with the keyboard. A "moment of a noise maker" isn't enough to be dissonant in the sense I mean; it's not enough to stir up a bit of noise. I've explained to you 70 times why the text matters MOOOOOLTO relatively in music, but I see that your mental delays cloud your vision as well.

Alexander, I would stake my life on the fact that you would lean towards melody and harmony, on these technical compositional idiocies (idiocies not because they lack value in themselves, but because we would be embarking on a STRICTLY artistic and consequently cultural discussion, thus talking about natural minor scales or major scales - for example - WOULD HAVE NOTHING TO DO WITH IT). You're playing the typical fool, the usual idiot who might play an instrument, sure, but as soon as the circumstances require a slightly more intellectual, speculative, philosophical approach, you show abilities worthy of a chimpanzee. And it's exactly people like you who make the establishment happy. So, kid, explain to me why the statement "in the end, they play electronic music" is incorrect, come on, tell me why—not just hide behind the excuse that "it's nonsense." Explain, explain. I have written several posts explaining why your presence on this page would be hilarious, and I have reiterated that in this post too.

You’re right, dear Alexander, the Depeche Mode have nothing to do with electronics. It's well known that they have always played an interesting mix of shoegaze and grindcore. But go take a nap, will you?

"I said you bring arguments from a crazed teenager," you say to your brother, dear. I raised the issue on a cultural artistic level, while you bring up songs of faith and devotion, one of the many DM albums, with less electronics, BUT STILL PRESENT. I mean, in the page where a monumental album like TDS is mentioned, you bring me songs of faith and devotion; it's like I cite I Promessi Sposi and you come back with Mickey Mouse (with all due respect for Mickey). More than one person is pointing out to you on this page that the supposed issue of the "embarrassing" lyrics of TDS DOES NOT HOLD. You haven't understood anything at all, neither Trent's state of mind, nor the FUNCTIONALITY of his lyrics (we're talking about music, not poetry, remember?), the lyrics shouldn't be judged by reading the booklet, but while listening to the music. It's like trying to evaluate a girl's face by only looking at her nose (which might be a bit flattened); you lack the concept of organicity, of the synthesis of parts, you have no holistic universalizing vision, in short, you don't understand anything.

Alexander, until proven otherwise, I say whatever the hell I want, including that TDS is better than Violator (because it's the pure reality; please don't start telling me that they are "different" albums, I'm making a QUALITATIVE comparison within the meta-genre, and at the end of the day, both albums are electronic). All you can do is dismiss others' opinions as nonsense; you don't demonstrate or explain a thing, you just offend and also expect to be convincing (!) with statements like "The lyrics of NIN (not all, many) suck ass!!!" Oh well, here we go. Learn a bit of method and show you have a middle school diploma. Music legitimizes the lyrics BECAUSE a nice text over a mediocre musical structure is useless; you might as well wipe your ass with it. We're talking about music, not poetry, you idiot. Now I'm starting to insult you too; outcasts like you deserve to be mistreated. You haven't even read ONE lyric from TDS; that's the reality.