Larrok

So: in Gish, although it’s a bit more flat on the hard rock side, you can already find all the seeds that would bloom in the magnificent next album; the songs aren't all masterpieces, but definitely “Rhinoceros,” “Suffer,” and “Snail” are noteworthy. Moving on to Siamese Dream, well, here it’s hard to find bad tracks, out of the 13 pieces at least 10 are great songs, with about 3-4 masterpieces (Mayonaise, Silverfuck, Quiet, Cherub Rock). Regarding Mellon Collie, we agree, there are a lot of songs that should be eliminated, especially in the second disc, but once again we are well beyond just satisfactory overall. On the other albums, however, you can sense a downward trajectory, but it’s a natural process for at least 80% of bands that exhaust all their ideas in their early works...

@alessio: I haven't heard the new tracks yet, but saying they're crap and selling their records seems excessive to me... let's remember that after all, Siamese Dream is a great album, as are many tracks from Gish and Mellon Collie; in short, a band that made rock history in the '90s. You could rightly say there are thousands of more interesting bands even just from their era, but judging them as crap is a different story altogether.

no no the original from '73...for secret story I will take care of it

not much...just Tubular Bells and Bright Size Life

The Planet X guys are almost fusion; for me, they are ultra-technicians, but quite self-serving (with Tony MacAlpine and Virgil Donati, it was to be expected)... anyway, listenable.

We are a group from San Francisco that makes experimental post-rock-ambient like Mogwai; recommended "From Bone to Satellite" from 1999.

Anonymous, what the fuck do you think music is, just technique like DT or sentimental crap like Tiziano Ferro? Listen to these bands and then talk, ignorant: Faust, Electric Wizard, Gong, Dredg, Can, A Silver Mt. Zion, Jon Hassell, Anglagard, Ash Ra Tempel, Bark Psychosis, Brian Eno, Built To Spill, Comus, Cult of Luna, Dirty Three, Egg, Zappa, Gentle Giant, Godspeed You! Black Emperor, Helmet, Henry Cow, Isis, John Fahey, Kayo Dot, Khan, Klaus Schulze, Kyuss, Labradford, Mastodon, Matching Mole, Melvins, Mogwai, Nebula, Neil Young, King Crimson, Neu!, Neurosis, Nick Drake, Oceansize, Ozric Tentacles, Pain of Salvation, Pelican, Popol Vuh, Red Sparowes, Slint, Smashing Pumpkins, Soft Machine, Syd Barrett, Tarentel, The God Machine, Third Ear Band, Tim Buckley, Tortoise, Van Der Graaf Generator, Robert Wyatt, Tool, Yume Bitsu... etc., etc., etc......and so many others...not sentimental crap.

Regarding the ELP, I agree that they have almost always been just form and nothing of substance...

@abyss: for example, in the central part of The Dark Eternal Night or during the solo at the sixth minute, there are evident displays of technique abuse for its own sake, which (like the rest of the songs) is completely devoid of any kind of meaning, being just a flat rehash of things already heard without a hint of inventiveness. Now compare those parts I mentioned with, for example, Supper's Ready by Genesis (the keyboard solo at 2:40 or the spasmodic progression of the finale) and you might understand what I mean by the difference between using technique for its own sake and using it to serve a meaning.

Yes, but Yes, King Crimson, and Genesis were not technically skilled just for the sake of it; their technique was not an end in itself but aimed at the visions they wanted to convey. Unfortunately, in many parts of the latest DT albums, technique has taken the reins and has prevailed over originality (which has never been excessive anyway) and especially over content. This is quite evident, and one only needs a more detached and comprehensive view of rock to realize it. Until some time ago, I also got incredibly excited about technique (especially in heavy metal and prog metal) and thought that this was the ultimate aspiration for a musician. However, over time and with exposure to a wide range of genres (still within rock, though), this way of thinking has been replaced by the awareness that the most important part of music is the content (and I’m not referring to lyrics) that a piece can convey. By content, I mean the emotions that an album is capable of evoking in the listener: unease, sadness, melancholy, joy, despair, etc.