easycure

Festwca, I think I agree with Pretazzo... the Band of Susans really didn't impress me much. Tastes! Can you tell me the name of the ON album so I can download it like crazy? :-D

..as you can imagine, for me this "minimum" of personality you talk about just doesn't exist.. but I think you understand, I've spent almost three years and 3,500 comments on this! :-D ..the 4 horsemen are great ehehe ;-D

Well... it's been lean years for me sanjuro (but knowing your tastes, I guess it's been for you too... ;-) I need to feel it better; at first glance, it didn't seem like much. Anyway, the new album from Jim Reid's new group from JaMc has come out... they're called Freeheat and the style is the same as usual!

Oh right, you're right, sorry, I missed that post :-D ... you see, a cover, depending on how it can be reinterpreted, can totally change the meaning ... that's why by making a cover you can notice even better the expressiveness of an artist/band ... I’m reminded of that crazy version of "Satisfaction" by Devo .-D ... as for DT, their problem is that they lack reinterpretative ability ... their references are never surpassed ... their issue is really that they lack expressive reasons ... "4 horsemen of metal coming to kill you" is beautiful! :-D I really like Metallica!

If you consider that the first EPs by MBV are from '85, it's likely that the influence was mutual. Great Dinosaur! :-D

clamorous

x Teto: Slint have only made two albums, both amazing, -) ..but "Tweez," the first one, is colder, more experimental in a classic sense.. it’s probably the album that gives meaning to the term "post rock".. the second one, Spiderland, is an absolute masterpiece.. the experiments of the first album become style and transform into something truly communicative.. it’s turned into a sacred monster of rock from the last 25 years.. anyway, if you can download them, get both of them.

No, fortunately not ;-D

Now the result of this function never truly surpasses its constituent elements; it simply places them side by side or filters them with good executive cleverness. However, this never manages to touch the essence of the piece deeply (the bass in the foreground, for example, typically new wave, often takes on the role of a "wall of sound," characteristic of certain later rock, but this remains a curiosity, a device that doesn’t truly change the intent of the song except in imposing an even greater dramatic flair, or rather amplifying the theatrical element combined with the glamour of their pieces). For this reason, their poetics are shallow, their art superficial... there is no uniqueness, and therefore no personality, except in maximizing the dramatic effect, rendering a type of expression that is, in itself, overly fried and refried (this is indeed the very intent behind the baroque and classical references, very clearly), a dramatic effect that, for this reason, has the sole true purpose of hiding the enormous shortcomings in terms of the group's personality.

Just what I wrote earlier, Christian: how can something that intrinsically does not constitute uniqueness be understood as a true expression? Having said that, in Muse there is an implicit imposition of a certain state of mind because their emphasis, pompous and coarse in its being overly explicit (therefore, in my opinion, quite unrefined beyond appearances), constantly calls upon something else. Thus, logically, it is not a state of mind that shapes the expression towards a certain musical effect (and since every state of mind is unique in being personal, any true personal expression turns out to be unique), but rather certain a priori stylistic elements, very explicit in their constant recalling and repeating, that impose, as such, an emotional state. This is the point (to also respond to a question that Teto keeps asking me): not so much and not only referring to someone else; there are few geniuses who transcend referencing the past, and besides, there is nothing wrong in being part of a certain cultural sphere: the problem is never truly overcoming certain references, which in the case of Muse does not evoke the form, we're not talking about real and continuous citations as in the case of Dream Theater, but rather an expressive model that is never surpassed: both the morbid melancholy of Radiohead and the sonic impact of certain '90s rock, as well as the existentialism of certain New Wave, all implemented with the grandiosity and pretentiousness typical of certain glam, which is notably present in Bellamy's singing.