Cover of extrema live jestrai rock - bergamo
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For fans of extrema,lovers of metal and nu-metal,concert-goers,music critics,metal music enthusiasts
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THE REVIEW

I've never listened to anything by Extrema except for a video that was once shown on macthmusic, and I think I'm truly lucky. June 24th, Jestrait Rock, live performance by Extrema. I'm not there for them, but they're there, so I write. First of all, there's an excess of equipment: a guitarist with 4 speakers and a bassist with two Ampeg cabinets when only one is needed, but let's wait; appearances often deceive, perhaps they really need them. The concert begins, and what's immediately evident is that appearances are confirmed: too much gear on stage, serving just to flaunt something unclear. After 2 songs, the urge to leave hits unprecedented heights. You realize that Extrema aren't young anymore, but they want to be at all costs, mixing pure metal, which I personally can't stand, with rehashed nu-metal. The cherry on top is an insult to Trapattoni, just to please the audience with a populist-national phrase. I think that after the insult, my ears went on a strike that continues indefinitely because they still can't comprehend what I forced them to hear. The advice I'll leave you with is to do with Extrema what I, as an Inter Milan fan, do with my beloved team: watch if you must, but if you have an alternative, choose that; you certainly won't regret it.

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Summary by Bot

This review of Extrema's live performance at Jestrai Rock in Bergamo criticizes the band's excessive stage equipment and uninspired mix of metal and nu-metal. The reviewer expresses disappointment and an urge to leave early, highlighting a populist insult that further diminishes the experience. Overall, the concert is viewed as a failure to captivate and honor the band's legacy.

Extrema

Extrema is an Italian thrash metal band formed in the 1980s and led by guitarist Tommy Massara. They became a leading force of Italy’s heavy scene with the hard-hitting debut Tension at the Seams (1993) and the follow-up The Positive Pressure (Of Injustice) (1995), later exploring groove and modern accents on albums like Better Mad Than Dead, Set the World on Fire, and Pound For Pound.
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