's true. This is a disc 10 years ago.
You might wonder what sense to talk about this disc so much away from the moment of conception. I answer you now:
1) First reason: to buy risucire are only now, after many years he was looking for and thanks to reprint due to 25 years of music's biggest ever American label: Touch & ; Go
2) Second reason: It's never too late to incense an Italian band that has done (and doing) history and is known as one of the best reality noise at the global level.
3) Third reason: I personally think that Uzeda are an example of integrity, passion and great talent. Two of them are married (just like in Sonic Youth), all are close to 50 years and continue undeterred to play this sonic stuff that would put off fans of their peers from smooth ballroom.
That said, for those not familiar, you must add the disk in question is one of the most mangy I've ever heard: imagine the slowness and repetitiveness of the first dream Ulan Bator, adding that feeling of "bastard attitude" of the typical Shellac (by the way ... sits behind the mixer of course Mr. Albini) and mixed it all with powerful doses of discomfort and nervousness music dates from a guitar able to lie down to the mat.
Perhaps those who are not accustomed to Uzeda happen to call into question the vocal performances of Giovanna Cacciola, when in fact the long run is hard to understand the core of almost everything is you, asynchronous and thus poised on the brink of perpetual discord, but as conclusive (due to his own way of singing) to square the circle Uzeda.
The lion's share is of course the guitar of her husband, Augustine Tilotta (by the way, retail gossip: the couple's son has for some time the new drummer for Three Second Kiss! Bad blood does not lie in short, that routs ...!) the magnetic field by providing the tension that is certainly the figure style of the quartet. Almost never get up the pace, there is no speed in spare "Different section wires" other groups within the same area and link have focused on acceleration and hot beats and here is the worship of the need to "hold the rope" the listener, to fry to perfection, to make him put his hands in his hair to try to relieve nervous at each stage is released in a piece like "Stomp." Then there comes a point where there is only room for a healthy cathartic release: the battery part and the whole takes shape and substance.
Disc essential and deleterious to the same point ...
