antimo_d

that said... the parts where Gilmour sings and the guitar sections in general are splendid: I’m referring to 'mother', a beautiful faux-serene ballad, in which the soothing phrases from the mother start to 'tighten' and the solo has the flavor of a sad gaze at a clear sky from behind the glass of a window...; I thank bogus for pointing out how 'another brick 2' is a sort of restless negative of the carefree, 'riff-laden' disco tracks of the time... I hadn’t noticed, for me it’s anything but a flaw...

almost all the parts where Waters starts with his hysterical voice make me feel nauseous: okay, the concept... but there are ways to do things, and for me, Waters is often indeed over the top, both with the lyrics and the orchestrations and (of course) with his voice... heavy, but not cutting; and let’s not talk about the corollaries (the film is often stunning but just as often tedious – and as for the concerts, if Waters didn’t want another brick, imagine how much I craved the hundreds of polystyrene blocks dramatically dropped in Berlin during his concert post-wall-fall, good only for making the TG5 news service of the time say ‘a huge wall of so many kilometers will scenically fall at the end…’ and for making the clueless fans orphaned by the giant pigs stolen from Gilmour for his amusement park exclaim ‘look! how cool!’). In short, okay. Roger. Clear concept. The (fantastic) captured voices on the album alone were enough to make me understand…

so... I was listening to it again and I stopped at 'goodbye blue sky'... I was surprised to find that today I'm experiencing again, almost instinctively, what I felt at 13-14 years old when I first started listening to it, but I didn't dare to openly admit it to myself (well, back then I idolized the Floyd...).
so:

kosmo! I will exaggerate! I want to write a nice tribute review in memory of Claudio Villa... @ Joe and Socrates: maybe you also know my ex Patti, paisà :D

beautiful beautiful this album! thank you josi, and thank you hal for helping me focus better on the cover; well, I mean, they might be a bit poseur(s) and not very original, but I often really like pop (the raw material itself, even without inventive pollution); oh dear, I do make a lot of exceptions though...

lady t! the review is better than the sempols, which somewhat disappointed me (from your words I expected a big group with a high level of seriousness... mmm... but can't this whole blues be shaped a bit better? ah damn beefheart...)

Well, Mr. Josi... I don’t know if I’ll be able to explain myself: the Low try to be intense by handling simplicity; it goes without saying that they risk being overly simplistic (musically), of not 'saying' anything (that’s how it is for me...) a bit like the graphics that try to be minimal; the risk of déjà vu and lack of impact is just around the corner... the beats happening in 'turn me on' are simple but original and intense, the Low (the ones from 'trust') are not for me... to cite something analogous, I find the Italian band Franklin Delano much better; maybe it was the positive experience of their live performance in a pub in Caserta barely bigger than my living room that cemented this idea for me... I don’t know, maybe if I heard the Low in the same situation I could change my opinion (but anyway, the Franklin are more original than the Low). I would define the Low as the Valeria Rossi of lagna-rock.

Hey, don’t overdo it with this easy LP… it’s sunny outside, go for some Ramones and XTC ;)

beautiful beautiful the 5 questions... should I write 5 to Ratzinger? will he respond? and Bono???

It's a masterpiece for me too; I prefer it to 'nevermind', even though it's very different... fantastic lyrics (that lingering on cold medico-scientific terms - 'cherry-flavored antiacids', 'we can share our endorphines', 'smelled like semen'... - in a context of exposing oneself like never before). I also prefer the part produced by Albini (the more noise-driven one), I definitely like less the one produced by Scott Litt (the ballads)... I should specify that, in my opinion, the plagiarism of 'smells...' in 'rape me' is clearly intentional, especially as the song talks about Cobain's status as an icon... there are so many subtleties, especially in the lyrics... I don't agree with you, cameli, on the ghost track: a stunning river of sludge, a back-and-forth of perdition-drift and anguished-ironic unnecessarily rebellious spurts, fantastic.