donjunio

Yeah! A review as sharp as a Pasqualino Foggia throw!

splendid album: let's see how they pronounce in the review cip e ciop (trellheim and therealramona)....

Anyway, Ole for math-rock refers, in very simple terms, to a drummer who, in addition to exploding in hard-hitting percussion patterns, plays the cymbals with a nod to jazz and is truly a protagonist, a bass that is still convinced of digging deep like in a post-hardcore band, and a guitar that extends with ruthless precision towards shores that are now fusion, now prog, but with hints that can range from funk to psychedelia. "Discipline" by King Crimson is probably the seminal album of the genre, while "II" by Don Caballero is the one I find to be the best.

II is unreachable, get that Ole!

I don't think the MLB are the epitome of grunge; they lacked too much of the punk substratum: a great hard-glam group nevertheless, they opened the path that would later be lavishly filled by Alice in Chains. If I had to mention a representative band of the (non-genre), I would definitely say Soundgarden. Clear Zeppelin-Sabbath roots, but also influenced by Young Marble Giants and Joy Division, with various experimental-psychedelic aspirations.

I'm 30 years old, and I bought "nevermind" in '92. The label certainly had a basic role in defining the (non)genre for those productions: for example, no one ever considered the Melvins grunge at the time (who, in the late '80s, were also in San Francisco, away from the scene, and had nothing to do with Sub Pop), but when Cobain cited them as an influence, they were signed by a major label and the media started referring to Buzzo and company as a grunge band too, because by then it was the phase where everything coming from fateful Seattle was thought to sell records and magazines. The truth is always in the middle. There was the Seattle scene (thriving, universally recognized), with musicians who knew each other, respected each other, collaborated with each other (and often had the same producer in the booth). Then there were the clear differences in style (thankfully, otherwise it would have been deadly dull), but since grunge is a term, as Cobain wisely stated, tremendously effective, it continued to be used, although it was exposed, like everything else, to manipulation and distortion by the media. Then clearly, those who bought the records, like you, noticed the differences and peculiarities of each band. After all, Coleridge and Keats are both romantics in English literature: but then you go read their work, and you realize that the similarities are quite few. Like in literature, in music, certain definitions should be taken with a grain of salt.

And anyway, grunge only became a fashion once it surfaced, when Crizia began to copy Cobain's tattered sweaters. It was an attitude, a lifestyle (closed and sensitive nature, rejection of the star system, punk-derived nihilism, etc.) that found its best outlet in the roaring power of execution of its champions.

But indeed, supersoul is right: we were talking about grunge back in the Sub Pop days, when almost all the seminal works (screaming life, superfuzzbigmuff, bleach, buzz factory) were produced by Jack Endino, with his unmistakable rough and abrasive style. Even the Afghan Whigs, produced by him on "up in it," bear the marks of that blend of post-punk, hard rock, and psychedelia that was the common denominator of the most important Sub Pop productions, on which Endino's imprint was essential. Then, once "Nevermind" exploded, the media appropriated the label "grunge," and from there, they lumped everything together.

As Joe Swanson's son used to say, the paraplegic and para-fascist cop from the Griffins, "...I listen to Vomito, Spazzatura, Lerciume, Testicolo... oh and I also like Radiohead!"

I think Cobain wouldn’t have appreciated that version because he was a punk rocker; I don’t believe he cared for such a watered-down and lackluster take compared to the original (even though it’s still better than a carbon copy, and it is nonetheless a sincere homage). Better the cover I heard of "heart of gold," which develops a peculiar artistic discourse on a minefield. I didn’t know the two hens had clashed over Trent, although when Miss Love is involved, the telenovela squabbles are always lurking: what could this man have that’s so irresistible? I hope at least Tori was more graceful than Courtney, who after being dumped with her usual class, exposed Mr. Self Destruct's romantic shortcomings...