Senmayan

As I've said millions of times, I like the album. Unfortunately for them, Incubus made S.C.I.E.N.C.E., so everyone expected them to continue in that wild cross-over vein, light years away from the depressed and suffocating new metal bands; they seemed destined to be the heirs of Faith No More. Instead, they chose to shift toward rock, and I believe that was the right decision. The mistake of those who listen to this album is to compare it to the band's past. However, when I listen to it, I realize that it's one of the best straightforward rock albums of recent years, without sterile intellectualism or experimentation, far from the tackiness of some bands (like Muse, who started out great but have now become a parody of themselves). There’s class and style, as well as technical preparation and, above all, the desire to shed their skin with each album.

thejargon you said bullshit, not everyone likes king crimson, there are no objective evaluations.

dai the second is a great film, pushing to extremes (like no time travel movie ever has) the temporal paradoxes and the possibility that a single insignificant event can change everything. Brilliant in the scenes that refer back to the first film, it has never happened in the history of cinema that the protagonist finds themselves acting alongside themselves in the same scene from the previous film, the only flaw, as already mentioned, is that it can only be appreciated if one is familiar with the first.

The first one is now legendary, the second is more dynamic; the only flaw is that if you don't know the first, you won't laugh or appreciate the continuity and various jokes, but in my opinion, it is not inferior to the first.

It seems normal to me that it’s the most visited page, considering that Sanremo takes it upon itself to represent Italian music. It's a phenomenon that generates a galactic pain in the ass, like an episode of Porta a Porta or Studio Aperto. This is not sylvian snobbery; almost no one here (myself included) listens to Stockhausen, but by writing on Debaser, we don’t listen to the Sanremo singers either (at least the majority), and it’s natural that we get annoyed, since Sanremo defines itself as a major event.

Of course, this year I didn’t watch the festival either, but this year the lineup of singers seemed more dignified compared to previous years.

I’ve only known Zappa for a few months; I only have two albums. However, I absolutely recommend “Absolutely Free,” which is a masterpiece, you won’t be disappointed. The first album, “Freak Out,” is also good, even if it might not appeal to everyone due to the numerous doo-wop songs that are indeed quite dated. But in the context of that album, they are brilliant...

I don't understand the criticisms of vellutogrigio and poletti; frankly, I find them exaggerated, considering that this is gold compared to many current Italian films (and it's no coincidence that it won the Oscar, which, admittedly, is now a completely devalued event, but it certainly doesn't reward complete trash). You can talk about war in different ways, and moreover, the theme of friendship, rather than war, seems to be the predominant one; the war remains distant and in the background of the film. You approach this film with prejudices, which certainly won’t be remembered as Citizen Kane; it's simply a nice film that’s well made. Your 1 is pure provocation. 3.5

Wow, I wasn't expecting all these high ratings. I definitely saw the movie, but I barely remember it, and my memories aren't exactly positive. Sure, there are a few laughs, but nothing more. To consider it a cult classic (even in a lesser cinema) seems exaggerated to me. I prefer Grand Hotel Excelsior (which at least had a good cast of comedic actors; just think of Montesano or Verdone) or the films of Lino Banfi. The Vanzina brothers were terrible, and they remain terrible.

An honest little disk? They may not be as innovative as Radiohead, but they are great composers, and belittling them as you do by talking about melodic rock seems ungrateful to me.