Festwca

I listened to it a couple of times and for a moment I thought I might like it. The power of hype.

I’m stepping in two years late to say that I've recently discovered the Italian occult psychedelic scene, and for me, it's quite a beautiful discovery. Or rather, I knew a bit here and there (like these La Piramide), but now I'm diving into the Boring Machines/Sound of Cobra catalog, and it's really a pleasure to listen to. At the moment, my favorites are the LP by In Zaire (kind of like Hawkwind), the second one by La Piramide, and Lay Llamas (who are on Rocket), but I also appreciate Heroin in Tahiti, of course, Julie's Haircut, and Father Murphy. The common thread, in my opinion, is Malesch by Agitation Free, or anyway krautrock with Middle Eastern spices, but in a modern guise (noise, post-rock, etc.) that makes me appreciate them even more. I'm not an expert in the matter, but it seems to me that we're witnessing a quality peak that hasn't been seen since the golden age of Italian prog.

Damn, the Nebula seem like they belong to a bygone era. A lot of water has flowed under the bridges since the stoner days. If I remember correctly, I liked the EP Let It Burn but I don't really feel like dusting it off. Hi Bartle

Great shout, I completely missed the post-The Heads project! It’s a wild mess of a record, I didn’t understand a thing, it’s filled with effects and random stuff, and it’s just chaotic with titles like "Space Box Zonk Machine." I remember at one point I was enjoying a trip reminiscent of Ash Ra Tempel and a pounding drum (or drum machine). After listening to it a couple of times, I might almost say: DISCONE. But then I think Paul Allen is just messing with me.

Damn, I missed this one. Beautiful, beautiful the sludgy record and nice the cover. The first side is raw and murky, the second more atmospheric and sometimes slows down enough to remind me of Morphine, it must be the sleepy sax.

Thanks to everyone for the comments. I should add that about a hundred copies were printed with handmade embossed latex cases by Rob Fletcher (the singer). Unfortunately, I arrived late and own the standard edition, which is still great: the cover reminds me of the first Blind Idiot God and also certain sounds, but again, it could just be self-suggestion. Jon Spencer is definitely present, as he says, but I would say more on the Pussy Galore side than Blues Explosion. You can find all the bands that deal with the blues and the swamps, the Cramps, the Scientists, the Beasts of Bourbon, etc., to accelerate accelerate accelerate. And torture the singer until he becomes a crazy Japanese. Anyway, I’m between thirty and forty, so not newbies.

Just a recap to say that in this year and a half I've worn it out, and while I'm more attached to 80s garage Lips, I can say that maybe The Terror is their absolute best. They've found a perfect chemistry that, although less "fun" than in the past, sticks to you and keeps bringing you back like a drug. Wayne Coyne is a character who, after thirty years, brings out something like this: five deserved stars.

It's a nice album that has been regularly playing in the stereo for a year. Far from perfection and five stars, it opens with the best track (9 minutes to enjoy, crafted with small touches) and loses its way over the long haul.

Whenever I read about Husker Du, I always sense a note of nostalgia (maybe because it ended as it did, or maybe because they spoke to our adolescence), and this lovely page is no exception. Having said that, the thrilling hardcore bombs from Mould in Zen Arcade are, for me, unbeatable. Hart has a melodic sensitivity and a genuineness that takes you straight back to the 60s, making his post-Huskers music more interesting and pleasing to my eardrums. Ecce Homo is nearly as great as Intolerance, while among his recent works, I enjoyed the little Hot Wax and found The Argument boring. Aloha.

Great album but a masterpiece I'm not sure, definitely not on the level of The Seer. This reincarnation of the Swans convinces me, although it may seem like a cash-in: the sonic behemoths that Gira has reached are a continuation and evolution of the Swans sound from thirty years ago and make their older records somewhat obsolete. In To Be Kind it seems he has completely forgotten about the Angels of Light and for me that's not a good thing.