pretazzo

secoooond!!! now I'm reading.

Oh well, if you mean to say that the VU had a "tentacular" influence and that punk only grabbed one of those tentacles, then I agree with you... But keep in mind that a lot of new wave has been able to grasp deeply all the nuances of the Velvets' proposal: from Wire to Dream Syndicate (just to name two random bands from two different countries and musically distant), we find an endless number of modern groups that have connected back to the VU without trivializing them.

Okay, but how do you think the punk movement received the "message" from the VU?

I’ll stay nice and quiet in a corner and won’t disturb, I promise! :-)

I'm coming too!!! Can I?? :-DDD

godbowl, I’ll tell you: for me, the first album by Squirrel Bait (which was, by the way, the subject of my first review on Debaser) is better than Skag Heaven, so I recommend you listen to both! Great band, the SB, as unknown as they are essential. As for Big Black, it’s true that they are cacophonous, jarring, claustrophobic, violent, distressing, but indeed tracks like Passing Complection or Bazooka Joe do bring a fair amount of euphoria...

Very nice, don! Clear and smooth. I don't know the album, but being a fan of both Young and Drake, it's likely that I will enjoy it.

That said, let’s not forget that there were other bands contemporary to the Huskers that could reach, perhaps more sporadically, their peaks: Mission of Burma, Wipers, Mats, Squirrel Bait, Rites Of Spring (all bands within the hc-noise-indie-emo realm, in short, the intimate and lyrical side of hardcore).

eheh Don, let’s say that "Santa Messa" speaks for itself! Anyway, I believe that, all things considered, a New Day Rising is worth as much as Zen Arcade in terms of songs (in addition to having a better sound). The charm and significance of Zen Arcade lie in its concept structure: a hellish first part and a second one that is more "reconciled," a powerful opening (Something I learned today, Broken Home...), then an acoustic interlude, then a series of pogo tracks, and then all the emotional depth of the second part leading to a fifteen-minute concluding instrumental, extraordinary not only because it updates Hendrix to hardcore (a year before Greg Ginn), but also because it never gets boring, it's intense from beginning to end and conveys, in a different form, the same feelings of torment and spleen that the sung tracks express...

godbowl, I just remembered a case of "Galaxie 500 curse" that concerns me: Sonic Youth! I like them instrumentally, but I can't stand their voices (Moore and, even worse, Kim Gordon).