ITT: when scaruffi was right

>As usual with Bowie, Blackstar (RCA, 2016), produced again by Tony Visconti,, is mostly image and very little about the music. The ten-minute Blackstar, that was supposed to be the centerpiece, is little more than a funereal litany a` la Doors with jazz horns that goes on five minutes too many. Bowie crooning melodramatic in Lazarus (from his Broadway musical about an alien who falls in love) or romantic in Dollar Days is either delirious and pathetic, certainly not entertaining. His tedious voice interferes with the driving jazz jam of 'Tis a Pity She Was a Whore and with the frenzied and tense Sue (a 2014 single). Even when the voice is not a distraction, the rest is hardly intriguing: I Can't Give Everything Away boasts an awful distorted guitar against syncopated beats and layers of electronic drones: not exactly genius. This is trivial "music" that any amateur could make, except that most amateurs would be ashamed to release it.

>Bowie died of cancer in january 2016.

>Radiohead, the most hyped and probably the most over-rated band of the decade, upped the ante for studio trickery. They had begun as third-rate disciples of the Smiths, and albums such as Pablo Honey (1993) and The Bends (1995) that were cauldrons of Brit-pop cliches. Then OK Computer (1997) happened and the word "chic" took on a new meaning. The album was a masterpiece of faux avantgarde (of pretending to be avantgarde while playing mellow pop music). It was, more properly, a new link in the chain of production artifices that changed the way pop music "sounds": the Beatles' Sgt Pepper, Pink Floyd's Dark Side Of The Moon, Fleetwood Mac's Tusk, Michael Jackson's Thriller. Despite the massive doses of magniloquent epos a` la U2 and of facile pathos a` la David Bowie, the album's mannerism led to the same excesses that detracted from late Pink Floyd's albums (lush textures, languid melodies, drowsy chanting). Since thee production aspects of music were beginning to prevail over the music itself, it was just about natural to make them "the" music. The sound of Kid A (2000) had decomposed and absorbed countless new perfumes, like a carcass in the woods. All sounds were processed and mixed, including the vocals. Radiohead moved as close to electronica as possible without actually endorsing it. Radiohead became masters of the artificial, masters of minimizing the emotional content of very complex structures. Amnesiac (2001) replaced "music" with a barrage of semi-mechanical loops, warped instruments and digital noises, while bending Thom Yorke's baritone to a subhuman register and stranding it in the midst of hostile arrangements, sounding more and more like an alienated psychopath. Their limit was that they were more form than content, more "hype" than message, more nothing than everything.

>>Bowie died of cancer in january 2016.
Well he's right about this at least.

bowiecucks will fight this

Scaruffi has written reviews and bios about almost 10.000 bands. Sometimes, he had to be right about stuff, even if it's by chance.

He's so right. How you can think radiohead is special beyond the age of 14 is beyond me.

he's almost always right

nah

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>Death Grips' lame No Love Deep Web (2012) continued the artistic decline of the project.

nldw is fuckin lame

rekt

Was he ever wrong tho?

...

death grips is fuckin lame*

Why does it seem like he's making fun of their deaths?

Perhaps he's secretly gloating about killing them?

you think its fun because he is not overly emotional about someone who never really met unlike the internet users going lik "omg 2016 stop killing people aaaargh i hate you >:'("

A Saucerful Of Secrets (Tower, 1968). At this point, the music did not fully reflect this change; the surreal faded slowly while the cosmic evolved. In reality, the group's cosmic sound needed to be supplied by human desire and without Barrett, the sound was salvaged only by painstaking experimentation. So it happened, however, that the group projected a coldness not there before. The title track, a long suite on side 2, was one of the greatest masterpieces of psychedelic rock: A Saucerful Of Secrets. The structure followed that of the group's debut: the delightful melodies lost their Barrett-inspired Dadaism, there was greater monotony in the execution due to a lack of imagination in the arrangements, and an excessive clean-up of guitar sounds. Waters, who took the lead, and Gilmour, who supported him, were fans of soft, refined, and relaxed music. Thus the vocals became sweeter and the keyboard became accustomed commonplace conduct. Gilmour's guitar style was slow and rare, knowing more of dreams than nightmares, slowing down and seemingly stopping time, descending into consciousness, opening the gates of paradise. It had no markings of the troubled Barrett.

he is spot on with saucerful

Shut up cuck, Scaruffi's right.

Get scaruffi's cock out of your mouth and form your own opinions, you fucking sheep

He's completely wrong. I don't know why you're quoting him, it would be like quoting Alan W. Pollack or someone. He's from the era when the few who could be bothered to make websites had disproportionate importance. He's a joke now, leave him to history.

Every single observation in this is wrong. It's like he's never heard the music he's attempting to describe.

What utter shit. Barrett's guitar never sounded "troubled". Again, this guy has heard no music.

What a retard, the album hasn't been released yet.

>troubled
yeah, it was troubled barrett not his guitar