easycure

No, in fact, I won't reread it; I wrote it. ;-) But don’t take it too hard, come on, there's nothing wrong with talking nonsense. I just hope you haven't reached adulthood yet. :-D

beautiful

But how much nonsense do you have to read... Kurt Cobain was a badass musician not for how he played or how he composed, but for how he managed to understand his times from both a purely musical perspective and a broader expressive one. His background as a musician is primarily historical, and it’s worth no less than any technical expertise (in fact, in rock, it’s worth significantly more as demonstrated by hundreds of examples). Clearly, those who criticize him have no idea about the historical path of the '80s. Cobain managed to filter the sensitivity of bands like Dinosaur Jr and Pixies, blending it with Black Flag and Green River, and even incorporating a nearly Beatles-like melodic sensibility in his vocal melodies: considering that he, in his ruthless honesty, also represented the last true example of a great generational leader, there’s more than enough reason to call anyone who dares to defame him a total idiot. Objectively speaking, this album isn’t a masterpiece, but whether you like it or not, it's a significant and truly creative record.. the petty criticisms thrown at it are truly those of a fifteen-year-old with no clue about rock.

zannab, obviously as above. And yet this post rock (a term abused to the point of violence, poor thing) is really quite amusing. Guys, but "Tweez" is an album from '87, I mean not even the '90s, from '87 for heaven's sake. With what courage is post rock still cited as an avant-garde? The Tortoise already suffered clearly from formalism, let alone 90% of today's bands. Then there's post rock and post rock, everyone sees their own thing in it maybe even just in the definition, yet I confirm: it's all nonsense.

Yes, but Jos, you are indeed right, it was a deliberate generalization on my part (like all outbursts, it tends towards self-pity and lumping everything together, otherwise what kind of outburst is it :-D) ..jokes aside, sometimes I can't help but see it as a drift.. after all, post-rock, just like, I don't know, Red House Painters, Low, etc., is all stuff that's over a good decade old.. other times, you are certainly right.

(It's not the reviewer's fault) but all these intimate groups are so exhausting.. it's one of the most emblematic drifts of today's indie.. taking refuge in intimacy to escape banality or revivalism. At least that's how I see it; it seems that to create something interesting today one can only be intimate.. that is, intrinsically intellectualized and in one way or another elitist. The other way is the remaining myriad of groups that, in order to appear interesting, stuff their songs with two thousand orchestral instruments. The third way is the middle ground, intimacy + orchestral arrangement... and in the end, it's all a matter of form, where is the great originality? All this lauded "intimacy" that evokes winters or autumns and cold (three of the most overused terms in reviews over the past few months) ultimately changes nothing in substance. Sorry for the outburst, eh, the review is nice.. but 80% of the bands I don't know and that I approach the review with curiosity do "intimate" stuff.. what a drag, my interest immediately drops.

but then this review is also ugly.. just useless..

It's not that just because Fripp started messing around with some dissonant offbeats, everything that features dissonant offbeats is the same as Fripp :-D ...I really don't see any possible comparison, I repeat, in terms of purposes and meaning. Even just considering the enormous difference between Fripp's overt intellectualism and the substantial physicality of a group like this. Far from me to "settle," I began the review in a precise way regarding this. Yet, without at all falling into easy enthusiasms like "masterpiece of the decade," it really seems to me an album far from any suspicion of revivalism.

beautiful review. I stopped listening to them after their last efforts disappointed me a bit. I miss this "in-between" period, and instead, it seems worth it. Among those I've heard, for me, the best remains "la mia vita violenta."

Um, without needing to assume anything, maybe it's more that you've limited yourself to the surface. Because, with all due respect, even a child would notice that the context, the purpose, the meaning is entirely different. If you then intend to explain to me where Fripp mentions techno, or what similarity the drumming has... oh well, not to mention the singing, light-years away from anything Fripp has ever dreamed of conceiving... I don’t know.