COX

One of the worst reviews in history that manages to avoid getting close to the seductive depressive black metal.

Dischissimo with two cubic balls as big as a house. Everything is as it should be, cover included.

There is a dualism at the heart of your review regarding the various mentioned: is Metal Machine Music art or is it just noise? Personally, I don’t see the problem, not even remotely. In art, there is often a desire to convey a concept, a meaning (not always, and thank goodness, I would add). But when is it permissible to do this at the expense of the signifier? Undoubtedly, the album in question aims to approach certain performance practices of a different nature, as you say. But beyond a pure search for or break (because to me, the real intent of the album is obscure), what else is there? I don’t dispute your opinion, but five stars mean the top, of emotion and exaltation. Art should primarily concern itself with form and not substance, and in such a conceptual work, this is totally lacking. The other objective should be, with that pinch of vanity and pride typical of artists from every era and place, to want to please, regardless of the means, to arrive at a personal vision of beauty to be proud of, to share with the world. The artist is vain by definition, for centuries. I love Lou Reed, but this album is, to me, garbage—a huge pile of garbage. And if I were to go to an exhibition, I would never want to find myself in front of Fontana’s works, so full of meaning but lacking in real artistic skill (creating something that others cannot, not concepts). For concepts and ideas, there are the essays of Popper, magnificent and perfect for the purpose. This record is disgustingly bad, unbearable. SHIT.

Beautiful album, explicitly pop, explicitly classy. It glides beautifully, knowing how to be ethereal and light like a cloud. A huge discovery of a band I didn't know but am now loving thanks to the aforementioned work. I'm learning from various comments and information about the shift from the past, so I'm looking forward to hearing the rest as soon as the hangover from Misery is a Butterfly wears off.

The album, on the other hand, is an absolute masterpiece.

Not bad

It is discussed from various angles. The admirers praise the greatness of his violin, so sweet yet explosive when it wants to be. The grace and beauty of a woman who seems to be painted by the Dolce stilnovo, as angelic and elevated as she is. However, when it wishes, it is a true tornado of vibrations and energy leaning towards the red, at twilight. This is the case of the third movement of Summer. The detractors, on the other hand, dismantle it; Vivaldi is repetitive, certain harmonic and rhythmic themes cyclically repeat in many of his compositions. For them, virtuosity seems to be self-serving, and in this light, they are often detractors of the entire Baroque. But just as that summer twilight arrives with the force of an explosion, it is truly an endeavor to stay out of it. The mind wanders, the heart flies, and one feels more human. I love you, Antonio Vivaldi, I love you and your music. Thank you for everything you have left us.

I like it because it's how it should be, concise and effective, it gets to the point right away, it knows what it feels and what it wants to communicate (the review). I'm not familiar with the work and I don't even want to get to know it.

Well, I didn't really know Salmo. I read your review and I'm devouring this album; it's a blast.

Best review of the day