Fidia

Incredible, I don't think it happens very often that a reviewer first talks about Fear Factory and then about Pooh. Or rather, I don't think it's possible. Maybe next time you'll surprise me and write a review of Napalm Death, only to move on to an analysis of Fivelandia 5 by Cristina D'Avena. Who knows...

Damn, I just now see that you also reviewed the Pooh.
And you want to tell me that you know and like Fear Factory (along with all the other thrash and grind bands you mentioned in the attached review) just the same way as the Pooh?
Well... in my opinion, there’s something strange, maybe a possible fake.

I confirm my impression written on your review of Fear Factory.
Showiness and pomposity more unique than rare, along with insertions (Velvet underground? Nine Inch Nails?? De Chirico painting???) made solely for a kind of masturbatory celebration of oneself.
Then I had a doubt while reading your review and the bands you analyzed: it’s fine to be eclectic in your listening, but can you treat people like Lucio Battisti, Nirvana, The Cure, Fear Factory, and U2 with the same level of pretentious minutiae?
I mean, I’ve never met anyone in my life who, after analyzing the hairs on Fear Factory’s ass (including things that were objectively irrelevant), moves on to the examination of Zooropa by U2 with the same ease of supposed knowledge.
Has a new Scaruffi been born? Or a modern Poletti?
As for the album, I find it mediocre, although "Stay (Faraway, So Close!)" is a very impactful song.

I almost forgot... thanks also to Guglielmo Epifani (of course, the user from DeB)

I take this opportunity, in this regard, to thank the users I Love Music, Cordell, So che?, Bartleboom, and dying sun (with whom the initial misunderstanding was then clarified) for their contribution to that review.
A contribution, however, quite meager, if you allow me, considering that the quarrel between me and that damn crazy guy lasted for almost a month and only the users I mentioned bothered to intervene.

Genoo, you misunderstood my thoughts.
I did not intend to minimize (pardon the pun) the issue of the alleged Nazi texts of Slayer on a topic that is, by the way, very dear to me (just look at how I got angry with that Mjolner about the Burzum review by Big D if you don’t believe me), but I simply shared my impression, which is that Slayer is exploiting this topic for speculatory purposes.
In short, I did not express any value judgment and, moreover, your insinuation deeply offends me, especially considering that, when the argument arose between me and that psychopathic Mjolner, you were far from intervening.
I firmly reject the accusations of ambiguity directed at me, as they are absolutely unfounded, as can be easily verified in my posts regarding the aforementioned Burzum review.

Indeed, it's a load of crap.

@Bartle: no nonsense, you’re absolutely right.
After the release of "Heavy Demons," it became necessary to adjust the title because the band risked being boycotted due to the double s.
I drew a parallel with Slayer and Kiss (Stanley also played a lot on the ambiguity of the double ss, even though everyone knew he was Jewish) because I remember that a lot of emphasis was placed on the issue back then, and on more than one occasion Steve Sylvester also showed quite a bit of ambiguity in this regard to prolong the affair as much as possible for advertising reasons (or at least that’s my opinion). Regards.

For me, this much-cited story about Slayer's supposed Nazism is a hoax. It has always been talked about, and Tom has always played along for obvious promotional reasons. It's a bit like what Kiss did (for those who don't know, Stanley is Jewish) or our own Death SS, later called Sylvester's Death.

With all the respect I have for Guns, who were my first love when I was 11 years old, I really don't think their music is for experts. I mean, it's not like you have to be some kind of genius to understand Axl and the gang.