leonid

However, I don't want to downplay this album too much. I like it, I think it's now clear, for its uncompromising impact and the strong irony that permeates it. To stay in "extreme" realms, in death, or brutal death, or brutal cazz death, irony is much less present, and if there's one thing I can't stand, it's bands that take themselves too seriously. Those that act all gloomy and deep, and then maybe they play trash. These Agoraphobic, at least, are ironic and have a very amusing tendency towards iconoclasm. And then, to stay grounded, they spakkano miriadi di kuli, something I like parekkio. The four I gave to the album isn't an absolute four; it's a four that means "good-grind-album-for-a-carefree-ha lf-hour." Did I make myself clear?

Sure, here is the translation:
"Look at my response to Zion, we agree on several points..."

And who is it that gets on your nerves? I'm curious.

Yes, Fidia is really right. Enough with people who support nonsense like that. Writing reviews is not an obligation. And then giving two stars to an album that turns its back on all the Fabri Fibra and the so much (too much) Italian garbage music seems unfair to me. I repeat, writing reviews is not an obligation, let those who want to understand, understand.

Okay. Thank you. Regards, I'm out.

Ah, you despise it regardless of the music. Evidently, you know the band members personally and you find them unlikable. Is it the cover's fault? Or perhaps the band's name doesn't sit well with you?

regardless of what?

You know, pretazzo, I'm not a fine connoisseur of Waits. I've listened to quite a bit of "Closing Time" (I would say I wore out the old C60 I had it recorded on), and I liked it. Then I have "The Black Rider" (which I got mainly for the presence of William Burroughs) and I didn't like it. I've listened a bit to "Swordfish" and "Frank's Wild Years," and they left me a bit unsettled. Maybe he's an artist I haven't paid enough attention to. What do you recommend I listen to to get back into it?
Thanks.

and then you forgot to mention the most important and truly interesting thing, which is that Lenny is the son of Roxie Roker, the Helen from The Jeffersons.

Zion, it is not "necessary" to go beyond, but it can be pleasant and stimulating. And then you are mistaken to look for innovation in records like these. Here the point is the impact, not the novelty, especially since I have emphasized how the group moves within a specific tradition. In this regard, maybe Cephalic Carnage has applied slightly more varied solutions to grind, but for the rest, this is a rather closed and conservative genre, like all those with precise stylistic codes. As usual, innovation comes from hybridization, and in grind, you don't see it in droves. A record like this is certainly not revolutionary, nor is a generic pop record of however many tracks you want. A revolutionary record is one conceived and played with intention; whatever genre it belongs to, it cannot be the choice of the stylistic "packaging" that determines any revolutionary aspect, but rather the intrinsic content, the quality, the significance.