Festwca

A rather prolific character, whose rarefied, misty guitar, reminiscent of a desert landscape, reminds me a lot of the Australian Roy Montgomery and Dead Man (Neil Young). Over the years, I've heard quite a bit of his work, with my favorites remaining Ulan Khol (I+II+II) and Hala Strana. I'm currently listening to this Owl on Bandcamp and I think that, without vocals, it would have been more communicative; still, it's a four-star and up kind of work.

The "average Italian" finds it hard to understand here, in my opinion. I read "ambient" and, by association, I think of Eno, only to realize that you mean a "dark" atmosphere and mention Virgin Prunes, Bauhaus, and Killing Joke (but why?). You write "masochistic relationship with instrumentation and melody": I don't think this phrase makes sense, but you probably meant "sadistic," as with Jesus Lizard you meant Scratch Acid; but then... what melody? I don’t know. What I do know is that Gira wasn't sleeping, that Pere Ubu weren't nice, that Minutemen weren't anarchists, that the '80s weren't as you describe, that Swans didn't go through "three periods" (?), and so on and so forth. It's a shame because, even if randomly, there are insights on this page: but I was expecting black, dark, heaviness, and instead I find a smoothie of revised musical history.

Unforgettable record for me. But you: did you put everything in the blender?

I wonder what the various members of TWR are doing now... Dive deep, dive deep (and enjoy): moonhead, in the spanish cave and especially the live. They are a band of an almost unparalleled intensity today. DeMa, I found you a bit off-key.

For me, there’s not much to say about Cyborg: it's the same as Irrlicht, but less intense. I won't give a rating because we are in uncharted territories even today. This page made my head spin, I'm going back to listening to Klaus Schulze.

Battlegods, I appreciate the insight, but I don't know, there's something that doesn't add up, that feels off. Especially in the historical framing, as well as in the description of the album. Perhaps because I've always seen the various krautrock bands as a world apart, especially those from the second half of the 70s, when they were no longer precursors or mad experimenters. Like this one, Zuckerzeit (or however it's spelled), the two Harmonia, La Düsseldorf, etc., they exist for me in a bubble that had little influence on the rest. A different discussion for Eno, of course. If I can clarify my thoughts better, I'll get back to it!

I just listened to the new Innocence & Decadence and, disappointed, I traced back to arrive here. I had missed the page at the time (“Risacche di rock d'annata. Riflussi di una marea che non ne vuole sapere di placarsi”); I have the first edition of the album (Transubstans from 2007) and, in hindsight, it really sounds bad! But it was fine that way; and the smell of the cellar is always welcome. I don't know if it has been remastered better since then, but this is the Graveyard I'm fond of.

Ah, you hadn't sent this yet? Nice album, especially it made me dig out the first three by the Flaming Lips.

I like Endytime; it's been years since I listened to Cathedral, but I remember it being darker, slower, and more monotonous than the others, which I considered all positive traits! And the cover was the best. As for In Memorium, I don't remember, but I trust it.

I am trying it out, among the three proposals this is definitely the one that resonates with me the most. America is a frontier today just as it was back in the days of cowboys, just as it was in the books of Cormac McCarthy; a frontier of the soul, a frontier of man, these are the strings I feel vibrating along with the six of the guitar.