Zarathustra

Genesis without Gabriel are just another band... if we forget what the Gabriel-era Genesis were then the album is nice.

Sorry, but does it seem so strange to you that one group pays tribute to another legendary one? Frankly, I don't see anything strange about it; in fact, if I had been at the concert in question as a devoted fan of the Floyd, I would have been immensely pleased. Well, maybe it's just me...

The Zep are the greatest anyway.

No, first there are at least the Cream.

The punisher, but if there's no music in Medulla, how can it be a "copy-paste" from Vespertine where we also find harps?

Blacksmith, on The Piper I agree because compared to The Dark Side we're practically talking about another band. You're absolutely right that it's not progressive; in fact, it's difficult to label this album... for convenience let's call it rock.

Floydman, I assure you that there are many people who could write books about this album. An artwork of this kind cannot be dismissed with just two words; if someone decides to write a review, they know they have a tough cat to skin. If someone dismisses a song like Us and Them as "a hit that could tame even the most stubborn psychopath with its sweetness," then it means they didn't even try to skin the cat... I criticized the superficiality of the analysis, which could have certainly been done better than this (I repeat, ALWAYS TAKING INTO ACCOUNT the difficulty of analyzing an album like this).

The review goes off-topic... I mean, it’s long in the last ten lines, what about the rest? History of Rock? Anyway, I totally agree about the Theater, especially regarding the fact that they have the merit of giving a new outfit to the 70s progressive and I must say that for me they represent the best rock band around, the only one that can be compared to the sacred monsters of rock music. To me, they are not cold; they are great musicians, doing some pretty crazy things, and Labrie's voice is fantastic. Anyone who criticizes him shows they have no understanding of what beautiful singing is, given that Labrie's technical abilities are objective. If that critique comes from someone who listens to Metallica or other bands that simply vomit into the microphone, then it becomes even more hilarious... Do you want to see now that Labrie, who has a godlike voice and studied for years to reach that level, can’t sing, while those who burp or bray like donkeys can?
I think we need to be more serious when judging the Theater. It’s completely legitimate and understandable that they are not liked, especially by those who don’t love prog, but some criticisms aimed at the band are unbearable and frankly make no sense at all.
The bootleg is nice; I mean it’s a bit too soft for Dream, but it’s very well played.

The review is fantastic, I would have done it exactly like that. The album, as you rightly say, is a masterpiece of avant-garde music and can only be appreciated if one has the right mental disposition and only after multiple listens because the music is essentially absent and everything is based on vocal intertwining and sampled sounds. I give it a 4 because emotionally the album falls short compared to Vespertine, which for me is Bjork's masterpiece.

The problem has been thoroughly examined by Duane. If there must be a duplicate, it should add something to what has already been said in the other reviews or present the work from a completely different perspective... in short, it must contain original insights. Otherwise, it serves no purpose.
I believe this is one of the most difficult albums to review; one could talk for hours about the concept that underlies the work and consequently the lyrics of the songs, a task that is always very challenging because there’s a risk of trivializing everything. You limited yourself to a quick and approximate analysis of the pieces, often oversimplifying them or misinterpreting the lyrics, failing to express their complexity and communicate the intrinsic magic of the music. For example, you could have said a thousand things about "Time," except that it’s fun; I mean, the whole piece is permeated by a certain underlying tragedy (just read the lyrics), and to say that it’s fun means completely misunderstanding the essence of the song. And how can we not mention the legendary solo by Gilmour?
Then, come on, not a word about the lyrics of "Breathe" (the line you quoted is quite insignificant because it’s completely out of context) nor about Gilmour’s soft guitar and the splendid vocal interplay with Wright. Not a word about "On the Run," how it perfectly represents the frenzy of modern life, about the background phrases (in this album, they are functional to understanding the pieces, not just simple flashy tricks, and you didn’t even mention them). In short, I could go on until tomorrow, waste tons of digital ink (for example, on the quirky rhythm that Money is based on and the historic sax solo by Dick Parry, on the poetry of Us and Them, on the pathos of Brain Damage which doesn’t simply talk about Barrett, on the epilogue of Eclipse and the definitive message of the work...) but I won’t, because I don’t like to be harsh and I believe I’ve made my point clear.
In conclusion: the album is epoch-making, almost irritating in its perfection; all the parts are incredibly balanced, music and words merge like perhaps in no other album, and it’s not easy to express and justify these things in a review, with so few lines available and without falling into mere praise.
However, the review doesn’t achieve its goal even partially and adds little to the others already present.
I’m sorry if I’ve been harsh, but take it as constructive criticism.
P.S. I also don’t agree with what you say about "Wish You Were Here"; for example, I consider it the masterpiece of the Floyd, being a more heartfelt and emotional album and less polished compared to this one, but this (sorry for the pun) is just my personal taste.