Cornell

This man truly has a terrifying voice. Every Devil Driver album is a punch to the teeth. Devastating. Great review.

Sure, however the old Chris Cornell has more voice now than all of Maria's friends put together. I didn't tell you to fuck off out of respect, it's never too late: go fuck yourself! Does this more concise comment work better?

Are you kidding me? Because if this is a joke it's fine, but if the analysis is serious and, from what I read, the judgment is even positive, then you should see the best specialists in psychorehabilitation. Now, analyzing this crap from a different point of view, made by people who have very little artistic talent, I can say that: the show (because I watched it, I admit it, and I'm quite ashamed, even out of curiosity to see how far the education of these four idiots ready for a dazzling career in the programs of Costanzinopoli and Transdefilippide could go) was such a disgrace that the Mediaset executives had to dig a grave to bury that cow Maria and that P2 member of baffodiminchiabuonacamiciaatttuttis evabeneamefiguriamociadunippopotamo . An example of extreme presumption, arrogance, and lack of respect towards teachers, childish fights staged by De Filippi, who revels and drools when she sees a chance to make someone fight or cry, sending at the right moment the provoking clips of these idiots who threw insults at each other. The finalists were more pathetic than one could expect from a program for emerging youth: Roberta, with her shit face and obscene falseness, with a voice that wants to be Aretha Franklin, but I can't get there because I might choke. Marco, the winner, with a voice that's as shitty as it gets, that hoarse tone trying to be Baglioni, but I can't pull it off, can't hit a note in falsetto even if my life depended on it; it's just sad to see and hear him sing. Pasqualino, with his irresistible gags, disrespected the teachers and the opposing team—what a great example to follow, well done! Susy and Giulia, the dancers (I can't help but laugh just watching them). Francesco, already a professional dancer, I don't know what the hell he was doing there.
If I had been a teacher, I would have gotten up and beaten them all with hoes and shovels to the spine. The challenges were also beautiful and exciting: dance, sing, sing, dance, dance, sing, showstopper (which was either dance or singing), and musical (and what a musical! They even did Jesus Christ Superstar, thank goodness poor Ian Gillan didn’t get to see it, otherwise he would have been dishing out beatings too). A crap show like this could only produce an ultra mega crap like this album. In fact, maybe the crap doesn't smell as bad.

<< Check with the DeMotore di ricerca that the album you want to review is not already present in the magical DeDatabase. If it is, it's up to you to decide if it's still worth writing a review: maybe yes (you have more to say), but maybe not. >> "This site is awesome if and because everyone contributes, sharing their own musical knowledge and enriching each other in the process. I'm talking to you about an album you don't know, you're talking to me about an album I don't know: only this way can our musical knowledge expand. Here, there are people who treat the homepage like a public restroom, where they throw (numerous) review rants to let the world (and also poorly) know that they like bands everyone knows inside out." Holy words - AMEN

And what the hell, then, interpretation: everyone has a personality that comes out in the way they sing. Vedder's interpretation was charged with pathos and surrounded by emotion with every sound emitted, and his range was on par with Weiland's (Listening to tracks like Garden, Release, or Given to Fly might clarify what I mean), except that Eddie had something more than Scott, in my opinion. (He conveyed much more). The vocal inflection was about slightly blending the vowels, filling the entire facial mask and sending them directly to the brain, to create a sound as harmonious and full as possible. Layne Staley interpreted each word as if he were suffering, rounding it all out with an extraordinary power, and his voice was sharp, tormented, and swallowed you into a drugged vortex with almost no way out. Layne's inflection was to emphasize the vowels, keeping them as open as possible and sending them to fill the nasal cavity, creating an effect of a desperate "junkie," but extremely powerful, sometimes almost astonishing (Listening to Love, Hate, Love or Man in the Box might make this clearer). In the first album, Core, Weiland's vocal inflection is very similar to Vedder's, the timbre is low and full, followed by a way of raising the raspy and slightly dirty tone like the P.J. singer, both in Plush and in tracks like Death & Bloated or Sex Type Thing or Crackerman. The vowel inflection is almost the same. While with a piece like Interstate you can clearly hear that Weiland has almost shed that full tone and prefers to move to levels more similar to those proposed by Staley. The vowels become less "blended" and tend to drag a bit, as the former A.I.C. singer used to do. I don't know if I've made my point clear. Anyway, I'm not saying they are a shit band; I always enjoy listening to them, but I consider Weiland someone who was good at riding the wave of the moment, memorizing the lesson of the greatest of Grunge and reciting it like in school. That doesn't take away from the fact that he’s a good singer. And don’t get mad, come on!

Well, I've never really believed much in this ribellionrevoluscioncommunistdelaro cciamorelliana thing. Great group. However, after three tracks, it really gets on my nerves. The review, let's forget about it..

Great album the latest from Korn, right? You know, dear Kurtd, that your God Jon Davis once wondered, after becoming famous: "Damn, the adidas stuff is really nice, it fits me perfectly... (Eureka moment!) I'm famous, let’s call adidas to see if they’ll give us something to wear their gear, you never know... Hello? Hello, this is Jonathan Davis, lead singer of Korn, the ones who supposedly revolutionized metal, I was wondering... Since we’re having a massive success and wear adidas, is there anything in it for us? Huh? ......... Response: Hell yeah, there’s something for you, listen up: PROOOOOT!". That’s how they opted for PUMA.

@Alexander77: So, I've never talked about tone, chords, or scales used. I've never made comparisons between the scores of Even Flow and Plush; they are both great pieces, although Even Flow is far superior. Then, if you explain to me where Weiland’s voice surpasses Eddie Vedder in range... If you listen carefully to Weiland's singing in Plush, you can't help but recognize the timbre, accents, and rough inflections typical of early Vedder. Plus, Plush is based on four guitar chords—it's just four! The same ones, throughout the entire piece. Zero solos! The drummer always keeps the same tempo, never making a transition other than the hit on the snare. Listen closely to Plush, and you'll hear a simple piece from Pearl Jam. Then listen to Interstate Love Song, and you'll find the same patterns as Plush, except that if you look carefully at the video, Weiland has changed his singing style here (you'll find cues, interpretation, and vocal inflections reminiscent of the late Layne Staley and more), but even the look has started to resemble that of the former AIC singer. Or am I mistaken? So they're not derivative? They're not copying and mimicking those who surely knew more than they did?

Well, they're nice, pleasant, have a good melody and a lot of, oh so much, fluffiness. They exploded thanks to the Seattle movement boom, trying to pick up bits and pieces here and there, and they caught the last crumbs (which were still millions..) of the Grunge comet. Let's face it, the songs are banal, the bass lines as simple as you can get with the instrument, not to mention the drums. Weiland's voice is quite powerful (it seems..) and clearly inspired by Vedder (I don't see any of Staley or Cornell in there because he just didn't reach that level). Embryo is right in the comparison he makes to Plush; I challenge anyone to say otherwise. Anyway, when it comes to ideas, don't even think about comparing Pearl Jam or Alice in Chains to these guys, for heaven's sake. In terms of guitar, Gossard, McCready, and Cantrell totally overshadowed DeLeo, Kinney was one of the most talented drummers of the time (and still is), and all the drummers who played with PJ are light-years away from Eric Kretz. Ament and Starr were perhaps a bit more technical than the other DeLeo brother. Similar to Vedder, Weiland had the (forced) timbre, while what linked him to Staley was just the heavy drug use (Staley had a vocal power and an interpretative originality that Scott could only dream of at night). Anyway, I have to say that he fits in quite well with those washed-up former Gunners. A nice compilation of spaced-out, fried, and overcooked people. I always listen to the Pilots with pleasure, but let's not go so far as to say they're better than AIC in terms of melody. @19 lengths: you always express your thoughts with touching and deep sentences. Your IQ must be equal to the length of your device. You're a paranormal phenomenon.

I saw him on La7 sniffing Bignardi's armpits. Too transgressive! Piero, let the station master get inside you, making you feel that sensation of a train without a station! The single is really nice, good job Piero... I much preferred Elettromacumba.