>Rage Against The Machine, the band that launched rap-metal worldwide, realized one of the most important leitmotivs of the decade: a fundamental unity of purpose between the music of black urban rebels and the music of white urban rebels. Rage Against The Machine (1992), one of the most violent albums of the time, a worthy heir to MC5's homicidal fury, sustained seismic shocks after seismic shocks thanks to Tom Morello's guitar explosions (from Hendrix-ian glissandoes to Page-esque hard-rock riffs), Zack de la Rocha's visceral and frantic rapping and ultra-syncopated hail-like rhythms. The sinister and morbid atmosphere of Evil Empire (1996), virtually a philosophical essay on willpower, and the passionate call to arms of The Battle of Los Angeles (1999) reached new depths although they lost most of the bite.
AC/DC are one of the greatest heavy-metal bands of all times, and one of the most authentic acts of rock'n'roll. They embody the wild, rebellious quintessence of rock music like few other bands before punk-rock. They were the opposite of the intellectual singer-songwriter or the brainy progressive-rock or the decadent glam-rock of the 1970s: they were not the brain and not the heart but the guts of rock and roll. Rolling Stone Magazine gave a "zero" to several of their albums: the greatest compliment ever paid to them.
>>63167575
>>63167609
Both objectively correct
Ultraviolence (Interscope, 2014), produced by the Black Keys' Dan Auerbach, jettisoned the hip-hop beats and, by that single move, achieved a much deeper sense of sincerity. Cruel World is the ultimate cry of loneliness, with psychedelic overtones and reminiscent of Jim Steinman's teen melodramas (the melody spirals up in a manner similar to Bonnie Tyler's hit Total Eclipse Of The Heart). West Coast is a blues lament derailed by details such as a soprano surge and a vintage guitar twang, which appropriately segues into the slow-burning, martial, plantation chant Sad Girl, perhaps the peak of pathos. Shades Of Cool weaves its tenderness around a desperate melismatic yodel, a waltzing tempo and a stoic guitar solo (and well disguised is the influence of Janis Joplin on this structure). It gets even sadder than that, in the funereal Pretty When You Cry, whose grandiose finale borrows from Kate Bush and Pink Floyd. The rest is filler. As a five-song EP, this would have been a masterpiece.
>>63167609
>Rolling Stone Magazine gave a "zero" to several of their albums: the greatest compliment ever paid to them.
i love this guy
The first impression with Bjork's music is always of something terribly trivial, obnoxious and, ultimately, boring. Just like the Beatles before her, she has made trivial pop music enhanced with studio wizardry. It's the studio wizardry, not the music, that people buy. And the tv-friendly image, of course. We must admit she has been very good at absorbing and recycling styles and techniques of modern music in order to impose her personality. If we wanted to analyze Bjork’s career, Madonna could indeed be taken as a model. In fact, Bjork’s strategy (rather than her sound) is the same as Madonna’s. If Madonna is the symbol of alternative, provocation, affront, in a word the punk aesthetics, then Bjork is the symbol of mainstream, alignment, compliance, in a word the return to middle-class values after the punk movement. Bjork does not upset the public, she entertrains it. Anybody who thinks Bjork is a genius should try to listen at least to Solex. Let your ears, not publicity, judge.
>>63167632
>As a five-song EP, this would have been a masterpiece.
>tfw it could have been the first 9 of the century
>>63167681
>Despite the hype that surrounded its release, Room On Fire (Rough Trade, 2003) was only a timid, derivative collection of average-sounding songs. The effervescent Between Love and Hate and 12.51 picked up where their singles left off, and You Talk Way Too Much continued the Strokes' obsession for redeeming the Velvet Underground. Embarrassing ventures into genres such as reggae (Automatic Stop), funk (What Ever Happened), ska (Automatic Stop), soul (Under Control), attest to the bands' limited skills. The End Has No End, which "boldly" crosses Michael Jackson's Billie Jean and Guns N' Roses' Sweet Child O Mine, says it all. This is mostly generic rock'n'roll (Meet Me In The Bathroom, The Way It Is, I Can't Win). There is virtually no musical depth in this album. This is as challenging as Britney Spears.
damn... strokes fucking BTFO
>>63167672
>Low Kick And Hard Bop (Matador, 2001) is another fantastic excursion through the swamps of cross-stylistic experimentation. Armed with a glorious "home-made" attitude, Solex shows all the Bjorks and Madonnas of the world what "class" is.
>Solex shows all the Bjorks and Madonnas of the world what "class" is.
I love this guy.
Has Scaruffi ever been wrong about anything?
>>63167632
>>63167672
>>63167709
This thread is a Scruffi appreciation thread right? Cause if you're trying to hate on him you're failing
He is the greatest rock critic of all time.
is he even aware of the existence of /mu/
>>63167609
Does /mu/ know that AC/DC are Scaruffi-approved? Spread this information around and they'll be /mu/core in no time.
>>63167931
He is.
>>63167998
Back In Black and Dirty Deeds are the only 7s
>>63168133
How do you know?
