pretazzo

Well, on this point I agree: "the words you use and the way you approach it is the same" ... But I can assure you that when I write a review, the last thing I would dream of doing is looking, just a moment before, at someone else's reviews ... What I learned from Scaruffi, I assimilated spontaneously and gradually over time. So, dear Tabba, I don't accept the following statement: "you have to review the Fugazi?? well then go see Scaruffi's opinion on Rites of Spring or Minor Threat, just change the names of the songs," and I send it back to you ... Excuse me: what do you know about how I proceed to write a review? In this, I notice a certain presumptuousness on your part. And then be careful, because the argument you’re making, taken to extreme consequences, could confuse stylistic affinity with mere "copying" ... And now: truce, armistice, or counterattack? :-D

mmm...good good good...the atmosphere is heating up...let's start with the allies: @Trell: smack! @Regular: I have a vague memory of Thorb Thorb, but soon I'll be commenting on your review ;-) @ Fest, Sanjuro, Odra: thanks!!! Now let's move on to the military maneuvers... @ Tabba: wrong! Great job! Yeah, it happens...Every time someone tries to write a review without cursing, they get called a scaruffiano...That's how it is, you can't have it all in life. But now the counteroffensive begins: the best way to prove that my review "looks like it's assembled with different pieces taken from Scaruffi" is to do a nice copy-paste from the Naked Raygun entry on Scaruffi's site and compare what he wrote with what I wrote...If you want, you can do it: you'll notice that my entry has practically nothing in common with Scaruffi's. You are the one trying to prove something, so it's up to you to find the evidence that supports your thesis. ;-)

Wow! That concert must have been a blast, nothing like an acid test! 6140 years played per leg, a pioneer of electronic music back in the distant 50s and he's still there to amaze: way better than Andreotti! Great recap Qze... I propose something: since Sanjuro brought up punk, let’s do it like in the review of Boredom on GG Allin: let’s hear the anecdotes about the thousand escapades of the character in question... I'll start: some time ago I saw a documentary on Canal Jimmy where the old master was working on a project like "string quartet on an airplane." Do you know anything about it?

An American critic once defined post-rock as "non-rock music made with rock instrumentation." This is precisely the case with Don Caballero, who borrowed various hardcore, noise, and metal stylistic features (all formalized in the 1980s) and used them as raw material in daring, cerebral, abstract, paradoxical constructs, much like the most radical progressive groups (the less romantic KC and Yes; the Soft Machine of the third album) had dared to do in the past. In this second opus by Damon Che's band, the hardest and most dissonant rock takes on a noble, austere, cultured, scientific guise.

It's hard to find, in 1969, a more perverse, chaotic, orgiastic, and satanic acid rock than what was delivered by Amon Duul in this debut, which marked the beginning of the golden age of Teutonic rock.

Ok Antmo, everything is fine. It was just a digression on the "nationalization" of musical manure. :-)))

Do you notice any differences between the stars and stripes shit and that of other flags? Translated: listening to Allin's "garbage," do you realize it's stuff Made in U.S.A.? I mean: Allin makes American crap, just like the Exploited make English rubbish? (Am I sounding a bit like Marzullo?!) :-DDD

What does "pura merda americana" mean?

A landmark work in the history of electronic music, it contains the memorable suite "Ebene", the pinnacle of all German "cosmic music". "Ebene" opens with a string quartet that seems to come from another galaxy, submerged in the repeated roars of the synthesizer, and then after a few minutes, a comet of organ rushes past us, leaving a blinding trail: it is the beginning of one of the most hypnotic, engaging, and intense crescendos in all music. While Tangerine Dream possessed a descriptive, impressionistic, phenomenological attitude and their proto-ambient scores (completely devoid of rhythmic and harmonic constructs) represented a universe in a vegetative state, Schulze's aesthetic had a more dynamic, titanic, emotional, and romantic tendency ("Ebene" means "infinite"...); Schulze observed the life cycle of an astral body, from the moment of its birth to death, following and translating its evolution into music, up to the critical point, the moment of collapse, only to find himself (in the remaining two movements of the work) contemplating, melancholic and disillusioned, the distant echoes of that sensational experience... Religious, philosophical, existential music.

Finally found you a couple of weeks ago! I've listened to you several times... I like you. Beautifully rough, just the way I like it... They probably come from the Australian countryside, immersed in desolate and sunny barren arid lands... A dizzying garage-rock, perverse, sick with blues and cow-punk... They seem a bit like the "tragic" and "serious" version of the Cows... Not recommended for those who love a clean sound!