donjunio

I had it practically ready too, but the important thing is that the gap in the database has been filled. The album is essential for many reasons; Green River were among the very first in Seattle to believe in a creative revival of hard rock, eliminating its outdated aspects through a primordial, impetuous, and at times depraved sound. A particular alchemy, especially because it was produced by musicians with opposing backgrounds and attitudes—some were punkish, others seriously hard rock—and indeed the paths taken by the epigones will prove this. I would have mentioned a few tracks anyway, at least the bluesy Beefheartian convulsion of "Unwind" or the savage scream of "PCC." Thus, it's a fundamental album for grunge, which wasn't so much a style (its boundaries were too broad) but a movement, and it's disappointing to note that it's rarely possible to have a sensible discussion on the subject, as various types of zealots always pop up to voice their opinions. What a shame.

I've always heard about the rusties, but I've never managed to listen to anything... the curiosity is immense. Well done, Cece!

a very beautiful film, magical in capturing the unhealthy atmospheres of New Orleans.....

double five, of course....well done bartle

I'm not entirely on board, but you clearly laid out your ideas, and I respect that... the film may have aged a bit poorly, but it remains an essential testament of that era... classic "powerful movie".

seen when I was little, you evoked pleasant albeit faded memories

Thanks to everyone for the comments: @mr.moustache, they are two profoundly different groups, but in my opinion, starting from opposing perspectives, they have conducted a mirrored autopsy on the corpse of rock, with the ability to look beyond.... at least I would cite them as the two most significant groups in this sense, at least the Jesus and Mary Chain of "Psychocandy".... this as a lofty flight over that decade! @surferkangaroo, thanks today in Casteddu for a beautiful sunny day, tonight we hope King David Suazo will make us dream at San Siro....

eheh good zigghio, it would take a treaty to discuss this thing, at one in the morning too... I wrote a review on bleach (the link is link rotto and that’s where my thoughts on that album are. As for what you wrote: Cobain certainly benefited from the influence of those who paved the way for the upheaval that was "nevermind" in 1991. Everyone owes something to the context in which they operate. If Napoleon had been born a century earlier, he would have been at most an officer in the ancien régime army: if Cobain had been born ten years earlier, he would have ended up working in some sawmill in Aberdeen. He certainly deserves credit for recognizing on every occasion the importance of those who came before him (from Sonic Youth to Melvins, not to mention the various Mould, Mascis, and Black Francis) and for even feeling guilty for the outrageous success he had compared to them. Certainly, "Zen Arcade" is a more complete work than "bleach" in terms of creativity and innovation, alternating the usual punk bursts with lysergic dissertations, Eastern digressions, and pianistic interludes (unforgettable "monday will never be the same"). However, both are lyrical albums to the core, two life lessons. Cobain was certainly not a great innovator, but he had the ability to touch on emotionally delicate chords, crystallizing the spleen of his generation in a dimension capable of surpassing the barriers erected around post-punk (that was the dimension most congenial to him, certainly not the cheerful diversions like "Gallons..."), generating the last sociologically significant rock spasm. This happened with "nevermind," of course, but it’s in "bleach," with its leaden nihilism, that the purest roots of that process lie. I’m off to bed, see you next time!

Dear Zigghio, welcome back. For me, "bleach" is worth as much as "zen arcade".....

Excuse me, of course I DISAGREE.