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disappeared the -core, only the emo remains...too emo...it's a record so excessive (in everything: the singer's falsetto, the length of the songs, the density of the arrangements, the tear-jerking melodicism) that it becomes captivating...it's a bit like those melodramas that are so pathetic and shameless that they stick in your memory...it's a progressive emo-pop...some melodies even remind me of the early Genesis, can you believe it...

Great review. Clearly, the only true Ado remain those of Cadena-Soto-Royer-Rikk/Frank Agnew... Now they are still playing, they even came to Italy and from the YouTube videos they should be in good shape, however I repeat: they are not the real Adolescents (even if surely their fake reunion is slightly more sensible than authentic horrors like the new Misfits or, worse, the new Germs!!!)... The review, I reiterate, is excellent, full of references to the perverse and gloomy OC-core, from which the mini death-rock scene also took off, led by TSOL and Christina Death... side note: TSOL has never made a single album that matches the debut of the Adolescents, even though they had a peculiar style... and anyway, more than cool kids, they were maniacs: they used to roam around beating people up, stealing and desecrating graves (I think they all ended up in shit... some from overdose, some murdered...)

I just say that BIG DICK COME QUICK :-P

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Wow, what a killer tune Sheep of Shiloam! Amazing! This is a group that plays classic rock, maybe psychedelic, but not acid... great clean and smooth touch from the guitarist, in an era where everyone is searching for and finding the most unlikely effects... even the voice is nothing particularly original, but it fits perfectly within the context...

maybe rock is dead, but the blues never dies! the slide you hear on this record melts in your eardrums like a tiramisù in your mouth! exquisite! all without bass, so... like in the Cramps and in John Spencer, but with much more sun and a lot more dust... nice quote from the great Aldrich...

Oh yes...1966: a year of grace for "garage rock"...just a moment before the psychedelic explosion...garage rock never died, it just transformed...after all, it’s the daily bread for those who intend to play/listen to/live a music that goes straight to the essence of that "teen spirit" Cobain spoke about in one of his famous tracks...after all, what was the so-called grunge of Nirvana, if not a new incarnation of old garage rock? Anyway, I think the most PERFECT garage track of all time is the one that names our dear site: Debaser by the Pixies! :-) Regarding the discussion you open about cover bands, I agree that there’s nothing more fascinating in rock music than a "twisted" cover that shows personality and character from the performers; however, it cannot be denied that, especially here in the provinces, cover bands of Vasco, Liga, AC/DC etc. have really gotten on my nerves!!! But why does no one ever cover the Butthole Surfers?!?! :-D

Long live Vivis :-))) like in that memorable review by John Legend ;-) ah, what a great page... even if "lonely glasses" can sometimes be therapeutic, they'll never be as good as a record of good music... great to see you again, Vivis!!!

I've been listening to them these days, after reading your review: they are indeed hilarious, reminiscent of the legendary Peking O by the stratospheric Can (perhaps because the Germans had a Japanese singer) and also a bit like my idols, the Butthole Surfers (for the way they shamelessly layer guitar distortions, screeches, ruckus, electronics, and improbable quotes)... you mention in your review: "...it lines up hardcore, samples, reggae, and ethnic music (!), emptying all these canons of their meaning..." And you’re right! In fact, this untamed crossover of genres ends up being self-serving over time, devoid of any profound meaning to convey, watering down all its transgressive potential and becoming boring... I don’t know, I still believe that "power (in this case, expressive) is nothing without control"... I liked the Butthole Surfers, like the Residents, because fundamentally their music had a logic of apparent illogic, a secret order that could be extracted from the chaos, which paradoxically made even their most senseless cacophonies engaging and captivating... at least in their early albums, they had the gift of synthesis... anyway, it's always a matter of taste... now I’m going to listen to more albums from these Japanese groups... bye! :-)

so many memories this rece...sombry, where have you goneoooo???