lux

ALEXANDER77, should I really emphasize the artistic Milky Way that runs between Painkiller and TDS? Have you ever wondered if the WAY a certain text is presented matters more than the text itself in popular music? Have you ever flipped through the dictionary to search for the meaning of the term "interpretation"? Mr. self-destruction is simply the paradigm text of Trent's conception of God, understood as a merely psychological entity (and therefore not real, not "ontological") that limits the decisionality of the individual's actions. It's his god-paranoia; it seems to me a clear, effective, communicative text. Combine this with the legitimacy that guarantees its musical value, and here you have a functional text ready. Were you expecting pseudo-intellectual lyrics with Freudian quotes from someone who is narrating (vomiting) his journey toward suicide? But to grasp the ultimate meaning of the work in all its aspects? No, huh?

It is a noteworthy achievement to have created the definitive industrial album that serves as a manifesto of postmodernity and the psychological turmoil of man (TDS). It represents a distinctly musical superiority, and when it comes to music, I believe that’s also the most important aspect. The Nin went a little beyond melodic ecstasy, being (at least in their early days) a true avant-garde force. Therefore, the dissonances of the Nin are hardly found in the DM, who limited themselves to composing catchy songs above all else, certainly not disturbing ones. In short, there’s always Sanremo to judge music from a purely melodic point of view, don’t you think? Are you looking for the maintenance of the established order and the value conservatism, musical and cultural, in the Nin? Well, at least in some of their works, you certainly won’t find that.

The lyrics matter in rock as much as Pipolo's presence in the AS Roma squad, but aside from that, the lyrics of NIN still seem functional to the emotions conveyed, with peaks far from mediocre (Mr Self Destruct, I Do Not Want This, March Of The Pigs). His have become manifesto verses, and this only happens when one can also culturally channel the essence of a work. And it is still the music that legitimizes and ennobles the lyrics.

What do I know about DM? Nothing, I've just limited myself to listening to their work. Is something else needed, like collecting Gahan's sweaty underwear or Gore's dirty socks to talk about DM? :-)

Terrible, to be polite.

Eeeetciù, PHM reflects the humus of the 80s and EBM, but, as usual, it is superior to ANY work by Depeche Mode. In some respects, it is even superior to the Fragile.

"It can be divided into two periods, which are connected by the sufficient/good 'With Teeth'---->AAA seeking critical spirit."

A 5 for this record, not "a" record!

The fact that all these bands culminate in the more commercial and standardized emo should make you think; you call it evolution, I would call it more like commodification... never separate the market from the products. When record labels decide to promote a product on a large scale, they think of neither art nor quality nor evolution. And it’s not just my opinion, it’s just the way it is.

These duplicates are only good for discussion; someone will come out and rate Daydream Nation a 2, and my ass will vomit bile, I can already see it.