Festwca

I like them too. It’s just that with these sounds, I practically enjoy anything and try to make distinctions. If you say they are that exceptional, I will listen to them more attentively :)

I think they are absolutely anonymous. Very good, sure, but insignificant. In the genre, Comets on Fire are practically unbeatable. Oh, by the way, did you know that the new Blue Cheer album is out? (!!!)

It's a gaudy, pandering record, annoyingly trendy (and thus now extremely dated), with OBVIOUS melodies, falsely innovative (where’s the novelty? Metal with synths, perhaps?), boastful to the extreme, thrown together haphazardly and disjointed. The Priest have crafted catchy melodies for 20 years, and Turbo comes in dead last. / "Metal music is not 'measured' by speed, noise level, and sticking to a closed formula that leads to self-plagiarism": I completely agree with this.

Naaaa, Somewhere in Time is a great metal album with keyboards and synths. Turbo is complete nonsense, don't find excuses ;) Of course, it adheres to the Sacred Law of De Gustibus, but your reasoning to dismantle other people's opinions just doesn't hold up, no no.

"Why doesn't a critique that wants to define itself as such always have pretensions of objectivity, that is, of demonstration?" In fact, I criticize you because you wear the odious role of the rationalist critic :) Then (maybe I smoked something) but your review seemed to me like it was placed there just to provoke "criticisms," and I seized the opportunity. Rationalizing, contextualizing, pretending to find meanings: that’s what kills music. I don't doubt that you do it for fun as well (after all, so do I). Regarding the role that the avant-garde has in the musical landscape: one can judge retrospectively by looking at the paths that music has taken in the following years, the influences, the inspirations that have sparked other musicians. Otherwise, it remains a standalone innovation, like thousands of other contemporary records that may dare in different directions but vanish into nothingness. We only recognized Spiderland in hindsight.

Sorry, I posted a comment that I had roughly prepared before dinner, but I see that saputello has already expressed the same opinions. In short, easy: a pretazzo to the power of infinity! ;)

Madonna easy, with this page you win the throne of the intellectual snobs, at least on DeBaser. I'm telling you this because I respect you and think you have great taste: you've concentrated in a single review everything that annoys me about certain music criticism: the need to prove (who knows what), the search for the avant-garde (who cares? Moreover, you start from the wrong assumptions, because what is considered avant-garde is usually recognized in hindsight - unless it’s avant-garde "just for the sake of it"), the identification of creative effort with something calculated and rational, your personal interpretation that transforms into a proven theorem (risking a distortion of the musician's intentions, as others have pointed out). Then, I find certain exaggerations quite perplexing (again, typical of those who elevate themselves to music critics): "perhaps the most important of this decade, certainly the most enlightening", "the TOTAL negation of post-rock", "the ONLY ones truly addressing an aesthetic issue", "ONLY Battles", "one of the few albums that tells a story". Phrases that you somewhat justify (once again: as if an album were a theorem to be proven) but that seem rather far-fetched to me. Yours is the kind of criticism that, in my opinion, "kills" music. Aside from that (because I too am certainly a bit snobbish), I don't find many of your references among the grooves (and I would be happy if you provided a bit more explanation here). It’s an album that tells: what? where? how? / "explicit and celebrated elementary nature": I wouldn't say so at all. Rather, it’s complex (in its pseudo-immediacy), layered, technical, strongly based on the musicians' performance, the result of artists who have been around for at least fifteen years. On one thing, I agree: it thrives on contradictions. Just like your analysis.

What's the point of improvising when you already know what you have to do. NoMeansNo: (s)super cool

Wow: if you mix them with Slint, Bitch Magnet, and Blind Idiot God (three ABSOLUTE bands), they must be mine! Absolutely never heard them mentioned even remotely.

@frank1979: with accents you do this: press FIRST on the accent (grave or acute, they're on the same key and I see you're already using them) and THEN on the letter to accent. Come on, it's not difficult. @iside: for the umlaut problem (no keyboard besides the German one has it, as far as I know), write: queensr. OK?