Nosebleed

But weren't the Mars Volta from Texas? I find it hard to digest them, let alone him solo... anyway, they are really overwhelming, and then I wonder how exhausting it must be to compose such complex stuff without knowing a bit of music. Then I'd like to see what would happen if he and the other one were bald XD

Great review, an incredibly interesting scene and group that I've promised myself to explore further, especially due to the close connection with Sepultura. Sooner or later, I think I will, but for now, infinite respect for Ratos de Porao. Am I mistaken, or was it their cover of "Policia" that Sepultura often played live? It was fantastic.

PS Anyway Alia76, I've noticed that you have a certain preference for female voices.

Judging by the review and the cover, she could be the girl of my dreams. However, I don't know the album.

They remind me a bit of Hatebreed from the description, but I've never heard these guys; the name just doesn't sound new to me. Good review, even though it reveals more about their attitude (not that this is an insignificant detail in the genre) than the music itself. Luckily, every now and then we don't just get reviews of the most obscure indie stuff or music that's experimented to death.

I was thinking about writing it myself, but thankfully this one was already out there... really beautiful, a great album explained wonderfully, no matter how reductive words can sometimes be. A very sad story.

If I had to vote for nostalgia, I’d probably vote high, but not too much... in the end, I never really liked Holly&Benji that much (I know, sacrilege), it seemed too silly, even back then.

Beautiful, this is one of those records where I’d give it a 5 but I’d give it a 10 if I could... The review contains a good amount of interesting insights, it talks a lot about music and has a bit of a professional touch, sometimes maybe too much (the track-by-track analysis somewhat diminishes the whole), but it’s something I appreciate. There are truly priceless elements here: the blues-roots-spiritual hymns, Blixa Bargeld's slide guitar with a sound that is as sinister and primal as it gets, the visionary and evocative lyrics (sometimes you can really feel the atmosphere of the Delta), and a thousand other things. They are among the most beautiful aspects of the Nick Cave version of a cursed bluesman from another time, along with that gem Slowly Goes The Night. "Blind Lemon Jeffersonnnn...is coming....tap-tap-tapping with his caneeeeee"

Unfortunately, the second round of the cat-fight between Fedeee and Ashanti ended prematurely... I'm sorry.

I mostly agree with Ashanti's premise, but it's not a discussion I would have brought up about this album. After all, if we don’t mythologize Nirvana, then who?