easycure

But I wasn't talking about the content, I was specifically referring to the method of the review; that's what is clearly different (and that's what I was interested in for the thread of the discussion, remember?).

But look, in fact, I’ve also ended up choosing the boss, it's the RV3, digital reverb and delay. Compared to the DD6, it has a much more powerful and deep delay... it’s the pedal used by Sigur Ros, just to give you an idea ;-)

I believe it, Diego.. I would also be happy and honored to have someone cover my songs :-D

The review thus continues with a description of the pieces that is not a description of merits A PRIORI (like: he is a great singer, so the piece is good) but is a description that analyzes the merits of the piece's function as a signifier of something (therefore a posteriori, it is the piece that makes the group great, not the other way around) in order to grasp the essence of the piece, that is its MEANING, what characterizes the tracks as a unique expression ("legendary balance between fierce passion and almost mathematical intelligence, between instinct and rationality, between poetry and engineering," language of dramatic tension, catastrophic sense of fear and solitude of the individual). In other words, it is literally a type of approach to the analysis of the track that is ANTITHETICAL to that of the links above :-D ..but it really takes very little to notice it.. anyway, I hope I have been sufficiently clear ;-)

hahahah :-D incredible, as predictable as it is. "the review of Fugazi is written with more care for dialectics" ..well, let me explain some differences: "Not only did the album lash out against society, but it did so with an almost zen attitude. Not only did the album invent a disruptive and catastrophic sound that had never existed before, but it also provided the soundtrack for that revolutionary and cathartic mood, thus giving a dimension that was not just existential but also metaphysical to a music genre." This sentence, as can be clearly seen, starts from an assumption regarding form, the interpretation of the pieces (disruptive and catastrophic sound, or considerations on the stylistic features of punk as music that lashes out against society) to grasp the SENSE, the meaning, the expressive reasons (the metaphysical dimension and not just existential, the dramatic nature of the atmospheres).

Without dispersing the romantic and solemn spirit that had made the early King Crimson successful, the supreme leader performs yet another palingenesis, inventing a kind of heavy-prog that – at the risk of falling into an oxymoron – could be described as dry, so harsh and sharp it is. Fripp confirms himself as a bifront genius: on one side, the cultured avant-gardist pursuing an "artistic" perspective, on the other, the rock musician who knows how to hit the listener in the gut. Here we find the tools of prog – violin, keyboards, oboe, mellotron – coexisting with the guitar assaults of an ensemble never so aggressive, in an album that sounds like a dark liturgy, with its disturbing symbolism ("red nightmare," "fallen angel," "bible black"...). Review of "Red," King Crimson - Claudio Fabretti (who I don't even particularly like as a reviewer) This is just to cut to the chase regarding any nonsense about being "biased against the genre" ... we're light-years away, it seems to me.. :-D
As if aware that it must now abdicate to a new generation of musicians – it's 1974, the punk-wave revolution is just around the corner – the Crimson King lets out a scream, even more terrifying than that of the schizo man from the debut. A swan song, perhaps, but also a lesson for posterity. Nirvana may appeal to some or not, but the definition of "the greatest album of all time" signed by Kurt Cobain sounds for "Red" like a seal of immortality.

Forty scant minutes to demolish decades of future clichés about progressive rock. "Red" is first and foremost this: the compendium of an entire season now nearing its twilight, but also an essential guide for the rock of the future. The fertile hybrid that ridicules in one blow all the nonsense about the supposed artificiality of prog in contrast to the genuineness of "street" rock'n'roll. No onanisms, molds, and lichens, therefore: "Red" is modern and abrasive rock, in which even the symphonic elements become a piercing detonation. "Red" in reality crowns a revolution heralded by the albums that preceded it. "Lark's Tongues In Aspic" (1973) and "Starless And Bible Black" (1974) had indeed testified to Fripp's desire to dismantle the dogmas of prog, pursuing an increasingly angular and obsessive guitar style, which would later become the subject of maniacal vivisection in the 80s.

The most formally regular tracks are Merchandise, which swings between heavy metal and reggae, and the tribal instrumental Brendan Number One. The most captivating is perhaps Turnover, which, after an agitated start, launches into a breathless boogie. Where the leaders find the right measure is in the tracks that best musically convey the catastrophic sense of fear and loneliness of the individual: in Sieve-Fisted Find, with a nervousness worthy of the early Pere Ubu, in Styrofoam, all yelled as in a mortal spasm, and in Blueprint, between Velvet Underground, Stooges, and AC/DC. The seismic syncopations of Greed and the somber heavy metal rumble of Two-Beats Off form the grammar of a language of dramatic tension. If here and there the confusion is excessive, the vehemence still reigns supreme and redeems even the most gratuitous bacchanalia (for example, in the title track). The album sells over a hundred thousand copies and becomes a record label phenomenon. Fans see in MacKaye's upright ethos one of the few moral references of the '90s ("You are not what you own," he says in Merchandise). In this album, Fugazi find a legendary balance between fierce passion and almost mathematical intelligence, between instinct and rationality, between poetry and engineering.

"You are not what you own," "Never mind what's been selling, it's what you're buying," and so on: these were the slogans of Repeater (Dischord, 1990), the first true album (the CD edition includes Three Songs), one of the most revolutionary records in rock music. Not only did the album rail against society, but it did so with an almost zen-like attitude. Not only did the album invent a disruptive and catastrophic sound that had never existed before, but it also became the soundtrack for that revolutionary and cathartic mood, giving not just an existential but also a metaphysical dimension to a musical genre. Fugazi established themselves, in short, as the equivalent of Bob Dylan for the '90s generation (whereas, for example, Nirvana remained on the existential level). Technically, the album is the progenitor of the entire post-punk movement, the reference point that all '90s hardcore would draw inspiration from. Fugazi further accentuate the drama of the atmospheres, indulging in pauses, frigid chords, guitar chimes, furious screams, and above all, constant scene changes.

Dear Piero, I understand that you might enjoy believing it, but obviously you've said something absurd :-D and in fact you don't back up your claims... because you can't do it. Anyway, here are some examples (including one about Fugazi, I challenge Piero to find just ONE, I say ONE point of similarity with the aforementioned reviews) of reviews that at least genuinely attempted to ANALYZE an album, which is the bare minimum a critique should do by definition: