Saputello

"And instead of taking in all the crap that's out there"-----> I don't listen to the crap, I only listen to good stuff. If you like listening to it, write your own crap.

It's a masterpiece. For someone like me who has always believed that the best music can satisfy both the imagination of adults and that of children, this is a fundamental work, in its association of sounds with psychological characters, motifs with sensations, giving a strictly narrative character to everything. The music is essential, and the voice is a beautiful complement, which I listened to (and still listen to) in the version narrated by Benigni, who is very good at following the onomatopoeic sound of the various orchestral components, probably delivering one of his best interpretations here. I have a special adoration for Prokofiev; his classical music has always stood outside of time and the stereotypes of the avant-gardes. His immense orchestration abilities follow the best traditions of the Russian school, and the variety of themes he manages to create at an emotional level never ceases to amaze me. I still remember the final march of the fairy tale from when I was a child; it filled me with so much happiness that I played it even ten times in the same day, while the tragedy of the Duck would plunge me into infinite sadness, making it all the more beautiful. Other iconic pages by this composer include Romeo and Juliet (the only musical adaptation I prefer to his is Tchaikovsky's, even though it's less varied and much more fatalistic and dramatic), the "Classical" Symphony inspired by Haydn's style, The Love for Three Oranges, and then the Overture on Jewish Themes, which may not be very famous as a piece, but is moving and I never tire of listening to it.

"90% of John Zorn's discography is crap" --------------> Congratulations for having the patience to listen to it all, and for finally intoxicating us with the ultimate truth. You can finally be awarded the special prize "Scaruffegiz of the year."

Yeah, in fact, they have nothing to do with the experimental kraut rock of the '70s. I don’t know, in the end it’s a matter of taste; the type of jam they prefer I find weak in the long run, as it is too monotonous. Let’s say it always unfolds harmonically on a basic note on which they build those aforementioned Hendrix-like phrases. In any case, praise to Stefan Koglek, who has an incredible sound; in my opinion, he is superior to Josh Homme in terms of soloing (although as a songwriter I find the latter much more valuable).

Debaser has built up a real hype around this band. :-))). Honestly, they didn't excite me; over time, I find them too dependent on Hendrixian phrasing and stoner sound, and not up to the name Krautrock (in its nobler representatives). An interesting band nonetheless (I listened to this album and Colour Haze).

A nice album, three years ago I would have listened to it much more gladly than now, but I must say I still consider it good, although not excellent. As strengths, it has a nice concept atmosphere and great eclecticism, moving from almost industrial vibes to prog-metal, all the way to pop, always with a remarkable personality. Unfortunately, nowadays I find one of the major flaws to be Alder's voice, which I can no longer endure for too long, and the many references to the Dream Theater sound. In hindsight, I incredibly prefer Disconnected, which, while not a masterpiece, is still their most interesting album. As for the ongoing debate about Dream Theater (cross sign), I remembered "When Dream and Day Unite" as quite an ugly album, aside from a few tracks, but since I haven't listened to it in years and have no intention of digging it out, consider it a vague memory. For me, the Dream Theater album to keep is Awake; the sure thing is that after this, every prejudice against them becomes holy water.

The only piece I know by Meshell Ndegeocello is one she did with Marcus Miller, which is Rush Over, nice but nothing more. However, the review piques my curiosity, so I will look for this album. "anagraficamente non mi appartiene" --> Is that a problem? And what do we make of classical music?

But how much shit does the cover of this album make? When is this man going to grow up?

@ VILDE K. VOLAND: Ok, now everything is clear; I can't disagree with you on that, but fans are the absolute evil, a plague to eradicate. Those in metal, especially... the albums by Opeth, all masterpieces! :) Anyway, I was too harsh in my rating of the review; in the end, it's enjoyable to read.

"Did I make myself clear?" --> Not much, to be honest : ). The unfathomable are not just the Tool; the music itself is quite unfathomable. We try to talk about it; we all do, but we can never provide exhaustive judgments, never. Unfathomable, rather, is the brain of certain fans who, at every whim of their idols, cite the word "masterpiece," and are literally stunned by a sound because they've now gotten used to hearing only that. So essentially: I find the distinction you explained in your post biased and wrong because you tend to analyze the two bands solely based on the image and the effect they have on their fans. If we try to discuss only their music, perhaps it turns out that both Jesus Lizard and Tool have produced remarkable work, even if Tool has lost some of its initial shine over time, and Jesus Lizard? Also. This is just my opinion on that part of your review, by the way; you included it, so you can't expect it not to be commented on : ). As for shit & scheiße, I have nothing to say; I've never had anything to say.