Tabba In D-Shirt

We needed a group like that these days to stone Bush Junior, and instead, we find ourselves in the pinnacle of nothingness. Musically speaking.

I still haven't found a Swans album that falls below average, a parade of masterpieces from their early days to "Soundtracks for the Blind" in 1996, the year marking the end of their season. This is perhaps their most violent work alongside "Filth," one of the sickest records in history. I feel good when I listen to it, I know I have serious issues.

It's a great album, great songs; if you want originality in rock, then don’t listen to grunge.

Don't worry, Tabba, it's clear what you wrote. Mr. Black Maple either read it wrong, just came out of a psychiatric hospital, or third option, is a fake.

Even playing with fire draws heavily from the past, from the garage, blending it with psychedelia until reaching trance; tracks like suicide or revolution grasp the sound walls of the stooges and the atmospheres of suicide to erect something unheard before. It’s braver than the perfect prescription, but in my humble opinion, it's not seminal either, not like J&MC or MBV.

Dune only listens to Bowie; he should be arrested for the corruption of minors and for obscene acts and lewdness in public places.

Bowie's peaks are Hunky Dory and Low.

Lanegan is a strange case; with his band, he never fully convinced or engaged me, while as a solo artist he has made, in my opinion, four albums that can only be described as great. "Winding Sheet" (the debut that I think is worth more than all the Trees' albums put together), "Whiskey for the Holy Ghost" (a cornerstone), "Scraps at Midnight," and the immense "Field Songs" (perhaps my favorite) are the albums that showcase this artist at the peak of his form, in my opinion one of the few who keeps American songwriting alive today. I think he viewed the Screaming Trees as a kind of "gym," a training ground to refine his sound for the wonderful things he has done as a solo artist.
Anyway, among the ones from the Trees, the one you reviewed is the one I like the most, perhaps because of that slightly more "Seattle-like" vibe (read: rawer production by Jack Endino) and it best represents the hard-blues-psychedelic essence of the Trees.

What to say about Scott Walker?? The one whom Brian Eno recently described as the last old man still capable of daring, Walker is 63 years old; at that age, one typically clocks in for work, but Walker is an alien, exploring new spaces immune to fleeting trends. Walker had disappeared from the scene because he didn't want to compromise with the business. He emerged from nowhere in 1995 with Tilt, which is one of the 20 musical works to be saved from the twentieth century, alongside Mahler, Stravinsky, Velvet Underground, Schoenberg, Pink Floyd. After 11 years, he returns with The Drift, even freer and darker. Walker works with blocks of sound; it is an absolutely contemporary work, a pure observation of the drift of humanity. Walker conceives his music in his utmost capacity to emulate the states of alteration of space-time perception that are at the root of our daily lives, just like when thoughts, fears, anxieties, and dreams follow each other in a disordered and frenetic manner in our little heads. What Walker intends to tell us is that reality has become mixed and confused with representation and fantasy. Walker suggests that in our times, truth and fiction have become the same thing, with no more dividing lines. Having understood that it is now hard to distinguish between reality and fiction, we can no longer ask ourselves in our daily lives what is real and what is imagination and fiction, because the answer will always be deceptive. Buried as we are in social and worldly representations and state affairs, what difference is there between memory and delirium? Walker seems to ask. Whoever gave it a 1 should be ashamed.

The most seductive thing about the project is the group's name taken from a Fassbinder film.