easycure

But where do you see the garage? And the prog rock? ..meh.. :-) anyway, a somewhat decent little disc (as you also said), nothing more.

I agree. For me, it's the most beautiful of The Cure.

at the Guildford festival in 2002... There were Echo and The Bunnymen and Pretenders, and before them, we played with all the Easycure (a Cure cover band) + a singer from the English Cure cover band who was really awful :-) but it was great. The Echo and the Bunnymen live seem excellent to me, but for the reasons I've mentioned, they didn't particularly excite me, yet they do deliver live. X Zion, I'm referring to the typical English New Wave mannerisms (which have been quite unbearable for a long time) those pompous arrangements, that pretentious way of structuring the piece, that declaimed melancholy... mmm, it's just fourth-rate aestheticism, that's what I think :-)

And anyway, Psycho is stuff like "and then nothing.." which constitutes the exception. This is much more in line with their historical production, like "may I sing with me" or "I can hear the heart.." I think you would like those too ;-)

Did you know that I played support for Echo and The Bunnymen? :-D ..never really liked them much, apart from this.. they seem like the most prototypical example of the somewhat superficial existentialism of a lot of English music from the late '70s to the early '80s.. however, the reviewed album seems fun.

Yes. All I need is sensational, beautiful. This is more varied and eclectic, while maintaining the same expressive framework. Loveless is more monumental and metaphysical; essentially, if in this record they are unique, in Loveless they become transcendental. You said it well: Loveless is clearly more mature; but both are masterpieces anyway ;-)

ihihih, nice review and lovely dialogue between Dale and his wife! :-D

Sure, Slint are even from the '80s, Tweez is from '89, but I was referring to the masterpiece Spiderland. X Zion, I'm not looking for revolution everywhere, but the so-called "post-rock" is really starting to annoy me: it should and wants to be innovative music, at least sophisticated and definitely alternative, meaning original and meaningful. It's tragically reducing itself to endlessly repeating the same four established canons that have become horrendously stereotypical; it's becoming the most pretentious of music... intrinsically snobbish because it's tremendously intellectualistic, totally self-referential and therefore excessively nonsensical... The Tortoise do not use the canon of deflagration, but their cold, cultured, and stretched patchwork is undoubtedly the matrix of most of these groups, including, as it seems to me, the one mentioned above... and if it's not them, it's Mogwai (who have made deflagration their trademark, which then became the patent of dozens of "post" groups), still always stuff that's ten years old :-) well...

What a beautiful review! I was in Pistoia, and six years ago I saw them in Milan... when the other day they started with Corduroy, I felt real chills running down my spine... but then the effect faded, maybe because of the new songs, maybe because six years ago, when in Milan the chills stayed with me throughout the concert, it was a different time (forgive the banality but I wouldn't know how else to put it!)... anyway, the Pearl Jam will always be the Pearl Jam, meaning that live they are monstrous, absolutely "classic" in playing to actually convey something, not just to play the songs.

Really? ...I don’t know… they are very different albums, but for sure for me Loveless is not particularly more beautiful than this one either… I’ve always regarded them as equals (both masterpieces, obviously ;-D)