Ahahah!! Rido, ebbene sì. Rido maliziosamente e sguaiatamente. Ecco, un attimo che mi riprendo. Giusto in tempo per presentarvi i Porcupine Tree, non più giovane band progressive inglese detentrice del cosiddetto "marchio Steven Wilson". Trattasi del caratteristico incedere vocale del cantante/chitarrista della band, divenuto, nell'ambiente degli amanti prog rock and psychedelic assorted, an indisputable indicator of sound quality (similar to indicators of environmental quality they see in my Modena progressive [term which seem guessed] down, year after year). It happens often, in fact, a friend approaches me and, galvanized by recent and enlightening musical discovery, I trim the old (and never Domo) refrain: "I am the singer and pesissimi STEVEN WILSON SEEMS TOO!". At that, intrigued by this complacency, listening incensatomi just the product and on time, not finding a shadow dell'albionico aplomb of Steve, if anything, only vague recollections of timbre to Mikael Askerferz (Asbrenzengl, Anferlongherz, the singer of Opeth, in short). Questo per dire che, per quanto i Porcupine Tree siano divenuti, nel corso della loro ormai ventennale carriera, un termine di paragone costante nel panorama musicale da loro frequentato, rari o nulli sono stati i casi di riuscito plagio a loro danno, ma numerosissimi quelli di vile e inefficace scopiazzamento (conosco giusto il caso di una band il cui nome inizia per Donkey...uhuhuh!! Dai che scherzo...spero...). Finita la noiosa parte biografica (come dite? devo approfondire? Allora: spaccano il culo dal vivo, hanno 40 anni e suonano con l'ex batterista di Baglioni [è vero]...ecco, stavolta ho finito davvero), desidero concentrarmi sulla ragione delle squassanti (e insinunanti) risate che hanno aperto la recensione. E questo perché è pleased to have made a good prediction spot-on, especially at the Tool (whose portrait, a mess half way between anatomy new age, art deco aesthetics and the Giger alien, now stands on the black shirts of half Italy, just to remember who the new wannabe Metallica). The reason for this concern lies in the fact that Porcupine Tree, from the bottom of their more limited market share, quiet quiet, humble and meek, so far from delusions of omnipotence and still close to the heart and brain to the deep desire to produce music that emotions , gave birth Fear Of A Blank Planet, a concept album simply beautiful, although not a masterpiece. And all in half the time it took to ejaculate quella merdina di 10.000 Days. Ahahah!! Cazzo rido, poi, che i soldi fitti li fan mica quelli come i Porcupine...vabbè...
TECNICA
Chi conosce i Porcupine sa bene che il loro lavoro non si fonda su virtuosismi pretestuosi, semmai su strutture solide e sull'eccezionale gusto pop delle melodie di Wilson. Ciò nonostante, Fear of a Blank Planet si sottrae, in parte, a quelle che sono state le regole auree del passato successo dei Porcospini e la ragione è da individuarsi nel suo processo compositivo, che ha visto la partecipazione attiva di tutti i componenti della band. Un batterista eccezionale come Gavin Harrison, che viene da esperienze nell'ambito di realtà diverse e complesse quali la scena fusion and Italian music (which, as you may loose shit, is supported by engineers and musicians of great skill and preparation), was able to give the album a further drop of executive genius. "Eh oh well, the drummer is very cool, but when it opens, such as the penultimate track, Way Out of Here, we seem to hear the Tool!" definitely tell the average fan of the band increase the pressure of the solar system, whose influences alternative prog have irreparably tainted every field that is not based on a 2 / 4 from the Irish polka. Give us some stylistic citations, I say. Damn ... traditionalist also appeared to be the Pixies, Nirvana, do not break my balls, go. This This, my vote on the technique of hedgehogs is very positive. Sounds great care, excellent workmanship (confirmed by a live performance by emotion) and a right chemistry between estrogen and emotionality in which each stylistic redundancy is ban. It 's true, Dear Steven is not a super guitar player, but what we like ...
Rating: 7.8
CREATIVITY '
At times, the weak point of the Hedgehog, perhaps forever. In this case, some minimalism too many ends to remove the opening of certain parts of the psychedelic rock genre, the one most familiar to the band, in favor of a new prog very English to Oceansize. It is, however, only episodes e, per di più, mai caratterizzati dalle ingenuità alternative rock molto 90s tipiche delle band new prog (vedi gli Amplifier, interessanti in modo discontinuo come gli Oceansize). L'incedere intenso e rigoroso delle canzoni di Fear riscatta, comunque, questi momenti di dèjà vu musicale e, ancor di più, lo fanno alcuni passaggi geniali (primo fra tutti il bridge e metà della lunghissima Anesthetize in cui due chitarre si rimbalzano con un effetto stereo asciutto e di enorme efficacia...insomma, 'na figata assoluta di riff contornata dalle sonorità psichedeliche del tastierista. Sentitelo che fate prima...a me me piace 'NA CIFRA!!). Potrei sintetizzare il mio giudizio così: Fear of a Blank Planet non è un album particularly original, but does not need it, trust me.
Rating: 6.5
CARISMA
Porcupines do not even have a great charisma, live or on disc, I admit. Steven is rather quiet, not at all flashy in dress, always vaguely adolescent and fitted with glasses for the scholar. His, and that of the band in general, is an image far from the arrogance caciarona we expect from the aged rock star. The performances of hedgehogs are also characterized by static (not for the projected images behind them). At this point, it is reasonable for someone to ask why I adore this band. I believe that this passion lies humility with which the hedgehogs are working. Never one of their songs is allowed no time for complacency gigioneggiamento, never exchange or only one of the components show off a peasant desire for the limelight, never missing a hook to move, to touch chords deep, never an end in itself contained text shows themselves, the first aesthetic and semantic. The adjective that, in my opinion, best describes the music of Porcupine Tree is mature and Fear of a Blank Planet is the best album by a great quartet of fine musicians of 40 years do not deny anything in the age and let naturally this is reflected in their artwork. When I listen to Porcupine Tree, I understand that the enthusiasm of youth can sublimate into something more and that, despite the increased pauperism of its new exterior, can move more of prurient impulses of an early age (okay, okay, I have Cappellato, I'm trimming meat loaf because I'm close to 30). In short, the charisma of this band dwells in the deepest places of the epidermis.
Rating: 7.2
CONCLUSIONS
So, if you look a damn solid band that gives a nod to fleeting fashions and fickle fans, and which ensures plays, bets on the Porcupine, because you will win her hand. If you like menate post-rock and the pretentiousness of those who trims du 'notes and making you a scurreggia believe that it is "the new course of alternative rock before which kneel or risk losing the respect of the community of committed music fans" (if, in short, your favorite band last year's Hammock, so to speak), then retreat to a cave as depressed as possible to listen to the Necks in perpetual loop. You will have greater satisfaction. For all others (those who have more than four limbs and walking upright), an excellent album. Perhaps no emotional outbursts enlightening, but certainly sincere and long-lived.
Rating: 7.3
PS Seriously, the Hammock and Necks are two very interesting band.
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