mista

Anyway, I really liked the concise and dense review. For albums that are widely known, we can definitely afford to let the evaluative and personal side prevail over the descriptive one. I mean, we certainly don’t need a track-by-track description of such a well-known album.

Well, in my opinion, even if a record is reviewed again, it still creates a new opportunity for discussion; those who aren't interested can also choose not to engage or read the review "skimming" and jump straight to the comments. Instead, I also think it would be nice to hold votes on the best reviews of the same album, also to streamline the consultation of the archive, while always leaving the possibility to access the reviews of the "losers."

a shareable opinion shark, certainly the production of images and words does not shine for warmth and depth, from this point of view much better Awake.

God damn it, I just replied to your really stupid comment on the Malmsteen review, and here you are again proving your ignorance... I didn't write "sampled snare sound," I wrote "SOUND OF THE SAMPLED SNARE." The snare, dear Frasca, is a component of every drum kit. It's that white drum that sits between the drummer's legs. The one that goes PAT PAT. How can I say that the sound is sampled? Simply because I have an ear trained from years of experience in the recording studio. If you want, I can explain to you what the trick is. When every snare hit sounds EXACTLY the same as the previous one, even in the so-called rolls (that is, a series of consecutive hits on the snare), this is a sign that the sound is sampled. Technique has nothing to do with this, indeed, with a sampled sound, all the dynamics that the drummer imparts on the snare are lost, both the voluntary and the involuntary, which a monster like Portnoy certainly knows how to master. If you listen to Awake, you'll notice that the sound is no longer sampled and indeed the hits don't all sound the same, making it possible to fully enjoy Portnoy's great power. Got it?

Frasca, go tell your bullshit as an expert who only listens to those who "express something with music" elsewhere, come on, I have the original CD, and I bought it when mp3s didn't even exist...

It's called KYASHAN! Who the hell is KYANSHAN?! Honestly, cartoons from the '80s aren't exactly an electrifying and original topic; we've all said nostalgic nonsense like yours a thousand times during class pizza parties... anyway, they could have featured it on the homepage.

This wonderful album has one flaw: the sampled snare sound is completely lacking in dynamics! Damn technology... Ah, forgive me if I always end up getting technical when it comes to metal albums, it's a professional deformation :-)

I've never been able to stand the truly poor production of the bass and drums on this album, which sound as flat as a midi file, while Uncle Yngwie's guitar kicks ass left and right!

Dear El minchia (but I’ve never called you dad), I didn’t quite understand the meaning of your notes; maybe you misunderstood my last comment, which was in response to a previous one. I want to make it clear to you and to everyone that I couldn’t care less if you enjoy writing ridiculous reviews—in fact! Some reviews from Vic, from Punny, and even yours, I found quite amusing. The problem is that now they’ve started to get a bit annoying, especially since the exhilarating effect has completely vanished. So here I am, taking the mickey out of you a bit, calling you babbi di minkia, failed Bukowskis, misunderstood souls without any talent. The question is: why do you take it so personally? Is it possible that the relentless punishers of bad music, the hilarious desecrators of music criticism, the only lifeline in the flatness of debaser, those who have made clever insults their preferred means of expression, ARE THE FIRST TO WHINE WHEN SOMEONE TAKES THE PISS OUT OF THEM?

Then I remind you that "insulting what you don't like to feel stronger" is what you do every day in your pathetic reviews.