Nosebleed

I prefer The Inner Mountain Flame; I find it more spontaneous and concise, but perhaps the real fusion masterpiece is this one. Not being madly in love with this genre, my preference does go to the other work. McLaughlin and Cobham are powerhouse musicians; they really drive the music, and there’s no sense of verbosity, which is quite important for the genre (see Chick Corea). The review is clear and explanatory.

I only listened to the tracks that had already been put out on the internet, and honestly, it seems like a pretty decent comeback, considering these are ultra-forty-year-olds who made their mark on music twenty years ago: there's the double bass, there's the up-tempo, and there are the supersonic solos that go over a minute; I’d say there’s little to complain about. That said, if they had done this ten years ago instead of releasing those massive crap from the '90s, they would have gained a lot more, not just in economic terms (Iron Maiden, Megadeth, Testament, all fans like that, and no one ever complained in the end). I didn’t like the review; it had a childish tone and arguments that didn’t go beyond whining, in my opinion (for the reasons mentioned above). I only agree on the fact that the sounds, given the personnel involved, could have been made much better. But then what the hell is "tecno-thrash"? Meh...

I only listened to the tracks that had already been put out on the internet, and honestly, it seems like a pretty decent comeback, considering these are ultra-forty-year-olds who made their mark on music twenty years ago: there's the double bass, there's the up-tempo, and there are the supersonic solos that go over a minute; I’d say there’s little to complain about. That said, if they had done this ten years ago instead of releasing those massive crap from the '90s, they would have gained a lot more, not just in economic terms (Iron Maiden, Megadeth, Testament, all fans like that, and no one ever complained in the end). I didn’t like the review; it had a childish tone and arguments that didn’t go beyond whining, in my opinion (for the reasons mentioned above). I only agree on the fact that the sounds, given the personnel involved, could have been made much better. But then what the hell is "tecno-thrash"? Meh...

In fact, it was actually a provocation, the irony of which also lay in the poor taste of a certain imaginary scenario, but I read that someone interpreted it as a celebration of Aryan youth. I don't remember if it was later interpreted as an expression of Nazism or if it was one of those elements from which the legend was born.

In fact, it was actually a provocation, the irony of which also lay in the poor taste of a certain imaginary scenario, but I read that someone interpreted it as a celebration of Aryan youth. I don't remember if it was later interpreted as an expression of Nazism or if it was one of those elements from which the legend was born.

You could have talked about the incident and especially the cover (due to which, among other reasons, the band has even been accused of Nazism); however, the review is thorough and functional. They are truly great, among the most intelligent and original out there, having understood everything back in the '90s (if they had to do with Lynch, there must be a reason), but I don't know much about that.

The review is very well done, but I am waiting to listen to the album to share its content.

The album is truly beautiful, rich in skill, creativity, and atmosphere while managing not to be too meandering (the risk, judging solely by the lineup, was there). However, I think there are some moments that are a bit less inspired, and the gap between "Unhealer" and the rest of the album is noticeable; the song in question is perhaps one of the best metal compositions of recent years, and the presence of Mikael Akerfeldt can only lead one to reflect on this.

Still with this bullshit about them being medical students...it's a legend, there was a similar discussion in another review. Anyway, thorough and spirited review for an unbelievably beautiful album.

Aside from the punctuation, the review doesn't seem poorly written, but there are some inaccuracies (Sidon is located in Lebanon, as far as I know). Furthermore, I don't understand why everyone, when reviewing De Andrè, resorts to the usual overused concepts about why he is a great poet and how much praise he deserves, yet they say nothing about the music; and here, in my opinion, we face an excellent example of music, just like in other albums by the aforementioned artist, whose strength, in my view, doesn't even lie much in the lyrics. From a musical and artistic standpoint, this is one of the most worthwhile endeavors in Italian and European music. It's a shame that almost everyone merely hints at the fact that it is one of the first examples of World Music; an label that seems reductive for this album, which is so imbued with poetry and charm. I don't believe the aim was merely to draw upon exotic sounds.