Marco Fabio:un'evasione particolare

In anno 439 ab urbe condita, Caio Sulpicio Longo et Publio Elio Peto consuli, i Sidicini della città di Teanum aggrediscono gli Aurunci, già arresisi a Roma e quindi sotto la nostra protezione. Nel presidio romano di Capua attendiamo l’arrivo dei consoli ma prima che l’esercito esca dalle mura di Roma giunge la notizia che gli Aurunci sono fuggiti davanti ai Sidicini e la loro città é distrutta.

La meritata punizione dei Sidicini é rimandata al prossimo anno giacché il senato, irritato per il ritardo nell’azione dei consoli, ha ordinato Caio Claudio Irregillense dittatore, il quale però ha dovuto rinunciare in seguito alla denuncia di irregolarità da parte degli auspici. A Capua non rimaniamo inattivi, per il comandante della cavalleria Caio Claudio Ortatore è opportuno sorvegliare la città di Cales degli Ausoni, i quali sembra abbiano unito le armi con i Sidicini, in modo che le legioni dei prossimi consoli sappiano se dovranno affrontare entrambi i nemici.

In questa mia prima campagna quasi non si combatte ed io come un idiota mi fido troppo della tranquillità delle giornate di perlustrazione e mi allontano a cavallo mentre il resto della squadra procura il legname per la costruzione del campo; l’abbattimento degli alberi é lavoro adatto ai contadini che formano la fanteria, noi cavalieri dobbiamo solo esplorare il bosco intorno per evitare che la squadra sia preda di pattuglie della cavalleria nemica. La fatica mi viene risparmiata, ma non la noia: mi faccio portare dal cavallo, é più lui che decide la strada.

In verita' sognavo di diventare uno degli eroici principes della legione ma solo le famiglie patrizie hanno la possibilità di armare un cavaliere e cavaliere sono dovuto essere. Però dovrò imparare a cavalcare meglio… ed in futuro dovrò fare più attenzione ai rumori diversi da quelli prodotti dal vento ed a scrutare più l’orizzonte, che non a cercare i disegni e mappe nelle ghiande sparse ai piedi degli alberi, perché é così che mi hanno catturato: solo all’ultimo hanno lanciato al galoppo i cavalli, per non darmi tempo di fuggire. Ma non sono riuscito neanche a girare Bucefalo, cui evidentemente l’arrivo dei suoi simili non crea allarme…Bucefalo…poteva essere solo l’ottimismo della mia sorellina Lavinia a dare il più nobile nome equino a questo idiota con la coda…

Mi conducono con premura all’interno delle mura di Cales; i senatori cercano di capire tramite me le intenzioni di Roma; non ho remore a confermargli il prossimo attacco contro i Sidicini, provo a sconsigliare l’alleanza con loro, ma vengo pesantemente colpito dal piatto di una spada: “Sei un prigionero, romano, non un ambasciatore!”.

Il colpo non é stato propriamente piatto e mi lascia un rivolo di sangue che sento scorrere sulla guancia (una cicatrice! Una cicatrice guadagnata in guerra! A Licinia piacerà più la cicatrice…o dispiacerà più lo sfregio…nel dubbio cerchiamo di non procurarcene altri…).

Il primo periodo di prigionia non é difficoltoso; ricevo le visite di senatori, mercanti, capi militari che cercano con blandizie di sapere se l’attacco ai Sidicini avverrà subito o verrà rimandato a dopo l’inverno; non comprendo l’importanza delle domande, forse dò per scontato che sia facile inviare spie lungo la via Latina a raccogliere informazioni.

Mi sembrano cortesi, spero di poter riprovare a stabilire buoni rapporti fra loro e Roma (tornare a casa con un successo diplomatico…parto con un ciuco di nome Bucefalo e torno con un successo per Roma!) e soprattutto mi pare di capire che la loro alleanza con i Sidicini non sia ancora stabilita. Mi sembrano sinceramente preoccupati per i raccolti, per le loro fattorie che sarebbero abbandonate al saccheggio…non é solo per Roma, ho anche voglia di aiutare loro, e qui si vede la differenza fra un ambasciatore ed un misero idiota: confesso serenamente che l’attacco sarà portato ormai dai nuovi consoli, con il nuovo anno, per via delle irregolarità nella nomina del dittatore Caio Claudio Irregillense, screditato dagli auguri.

Le condizioni della mia prigionia cambiano! La minaccia romana appare vaga, lontana, forse non avverrà (un dittatore ed un maestro di cavalleria che rinunciano alla carica perché avversati da un fegato di pollo…).

Non ospito più visite di amichevoli senatori e preoccupati agricoltori, ma non mancano le attenzioni: ricevo un duro tozzo di pane, ogni giorno, ma prima, ogni volta, vengo coscienziosamente frustato, perché ai cittadini paia più lieve il sacrificio di nutrirmi; mi assicurano che stanno usando la mano leggera, ma io li rassicuro che fa male lo stesso…

Non c’é soldato, cittadino o imberbe fanciullo che risparmi un calcio o uno sputo nel passare davanti alla mia grotta; i proprietari, prima quasi supplici, sfilano tracotanti ed ubriachi a promettermi un prossimo impiego al giogo dell’aratro, appena il presidio romano avrà rimosso il campo…spero che non vi siano campi da coltivare d’inverno; spero che le legioni arrivino, sono sicuro che verranno: Roma non dimentica il tradimento e l’alleanza degli Ausoni con i Sidicini sarà punita…la prossima primavera, però.

La catena é piuttosto lunga, ma passa nel foro di un grosso, pesantissimo masso; dal mio lato sporge di due cubiti, mentre per la maggior parte va dal masso al muro, ad angolo retto, abbastanza tesa; il lato troppo corto che mi lega al masso non mi consente di raggiungere il muro, non sono in grado di spostare la pietra, é molto grande, neanche riesco a girarvi intorno per tirare l’altro capo della catena…provo a dare strattoni: la catena stride, scorre, ma solo se tiro lentamente, se impiego più forza, il movimento si esaurisce per l’attrito lungo il foro e per l’angolo che il masso costringe a fare alla catena; sul chiodo nel muro non riesco a fare alcuna trazione; il punto debole é il muro, ma non ho modo di arrivarci… .

La mia cattività é ritenuta sicura, la catena é salda, le porte di Cales sorvegliate, non sprecano uomini per farmi la guardia, per cui chiunque può venire a molestarmi. Particolarmente sgradevoli sono le visite del mercante Baculio: si fa un obbligo quotidiano di venire ad informarmi come e qualmente mia madre copuli con gli schiavi asiatici nelle terme pubbliche e si dice sicuro che le mie sorelle sono state fatte prigioniere dai pirati della Lidia, che prima di venderle a vil prezzo ai Numidi del deserto hanno insegnato loro le arti delle meretrici di Creta e fatte esercitare con le schiere dei Persiani; neanche mio padre é indenne: sono sempre i pirati lidi che avrebbero preferito tenerlo per loro a lustrare nudo i ponti delle navi.

C’é poi il ragazzo appassionato di politica: mi si rivolge come se avesse di fronte il senato romano con discorsi che probabilmente elabora vedendosi come un oratore al foro: ma alla fine tutto si riduce sempre alle recriminazioni sulla prepotenza di Roma che impedisce ai popoli italici di godere della loro naturale ed irrinunciabile libertà.

Per un po’ gli dò corda, spero di ottenere dalla sua amicizia qualche vantaggio materiale, ma quando gli chiedo di portarmi da mangiare mi guarda come se avessi parlato l’antica lingua di Ceri: rimane un po’ intontito, deglutisce un paio di volte e ricomincia a parlare: non può credere che di fronte alle sue superbe perorazioni io trovi il modo di pensare al cibo…crederà piuttosto di aver capito male!

Mi annoia, così preferisco liquidarlo:”Qual’é la libertà cui aspirano gli Italici? A quale libertà aspirano i Sanniti, a quella che gli consenta di saccheggiare le fattorie dei Greci in Campania? E qual’é l’uso che hanno fatto i Sidicini  della loro autonomia politica e militare? Hanno aggredito gli Aurunci e distrutto le loro case. E voi Ausoni, della vostra preziosa ed ancora breve indipendenza, cosa fate? La bagnate nel piscio dell’alleanza con gli infami Sidicini per brama di saccheggio: Roma verrà per difendere i sopravissuti e vendicare le distruzioni patite dal popolo che con fiducia si era affidato alla protezione della Repubblica. Punirà anche voi, foss’anche per le sole vostre intenzioni, e tu piccola pecora merdosa sarai il primo che indicherò alle forche dei giustizieri, perché la stupidità del cittadino é peggiore della cattiveria del soldato”.

Non l’ho piu’ rivisto.

Anche questa ragazzina che dice di essere una schiava lucana acquistata dai Sanniti é una molestia con le sue domande su Roma, gli abiti delle matrone, le acconciature dei loro capelli, le loro abitudini sessuali persino; mi chiede se la porterò con me, quando i Romani arriveranno; anche lei sa che le legioni verranno.

Diventa l’unica presenza amica, potrebbe essermi utile…a mio disdoro, ammetto che la prima utilità che ho sperimentato non é molto nobile…é una schiava, ho anch’io le mie schiave nella casa paterna, é la prima cosa che facciamo quando le compriamo…penso che mio padre le compri apposta, oltre che per i lavori domestici, e come quelle non ha penato a resistere, troppo tempo sarà passato dalla prima volta che ha sperimentato la sua vita di giovane e bella schiava.

Penso che la porterò via, quando sarò liberato…o se riuscirò a scappare…il mio personale bottino di guerra!

Perché ci ho messo così tanto a decidere di farmi aiutare? Le chiedo di svellere dal muro il grosso chiodo che tiene la catena; penso che basti colpirlo più volte con un sasso; la ragazzina si infervora a colpire, ma temo che il rumore attiri attenzioni, nonostante lo straccio che avvolge il sasso. Le spiego che é meglio dare due o tre colpi ogni giorno per prudenza…ma anche per decidere cosa fare quando sarò libero; quando finalmente si svelle, la convinco a rimettere a posto il perno, ad incassarlo come prima, adesso verrà via anche con qualche debole strattone: gli idioti non hanno pensato a mettere un chiodo di dimensioni maggiori del foro nella pietra…o forse hanno dovuto far passare la catena nel masso quando all’altra estremità era già legato il collare…idioti in ogni caso.

Nei prossimi giorni occorrerà versare dell’olio nel foro della pietra. Quando scappare? Non sono sorvegliato, gli accessi alle mura saranno sicuramente molti per difendersi dall’assedio, giusto una corda per calarmi giù…potrà procurarla Meridia? Cales e’ sulla via Latina, conosco i boschi intorno dalle scorte fatte agli approvvigionamenti, raggiungerei facilmente Capua.

Oppure potrei rimanere qui, subire ancora gli oltraggi, le nerbate, sopportare la fame per essere di aiuto durante l’assedio ormai prossimo…

Stanno passando i mesi invernali, arriveranno i nuovi consoli, anche se vi fossero problemi con i Sanniti Roma non trascurerà di punire Cales, l’inflessibile senato invierà uno dei consoli a sottomettere gli Ausoni.

“Tu, sempre a fare la puttana del romano!”. E così la uccide, senza alcun moto d’animo, con una lenta indifferenza, gesto di cui non dovrà rendere conto, per un’insignificante schiava lucana. Poi stancamente, come pentito di essersi procurato un lavoro sgradevole, con forti colpi di spada le tronca gli arti e la testa per  poterla buttare più facilmente oltre la soglia della grotta.

“Ecco, ora la tua meretrice finirà ad ingrassare i cani”

“Già, gli stessi cani che mangerete quando le legioni metteranno l’assedio!”

“Allora vorrai mangiarne anche tu di quei cani…” mi risponde pensoso, valutando il mio insulto come una fondata previsione.

Anche la mia famiglia ha i suoi schiavi a Roma e nel podere di Fregellae, anche per mio padre e per me é spesso necessario punire gli schiavi; non arriviamo ad ucciderli; quando diventano intrattabili, violenti cerchiamo di venderli….finiscono sempre per valere qualcosa.

Meridia no, non valeva più niente per il soldato ausone, malinconicamente presago del destino di Cales.

Il fantasioso Baculio non resiste all’opportunità di informarmi che il grande esercito federato dei Sidicini e degli Ausoni e’ pronto alla battaglia contro le legioni romane. Sento l’agitazione della raccolta dei soldati, il clamore degli incoraggiamenti, l’esaltazione febbrile e subisco il sarcasmo di chi ha un motivo in più per passare a tirarmi calci; ma dura una sola mattina, a cui segue un trambusto nervoso, imprecazioni ed ordini urlati di proteggere e rinforzare le mura; la loro armata é stata evidentemente sconfitta, i superstiti devono essersi rifugiati nella città.

Dimenticano di frustarmi (ma anche di portarmi il pane). Agitazione, rumori di sassi accumulati sotto le mura, facce tese dalla preoccupazione: é primavera, le legioni avranno tutto il tempo per distruggere Cales, ma si potrebbe fare più in fretta. Questa città va presa, ho troppe cose in sospeso nell’animo; e va presa con la mia opera, senza che Roma sprechi troppo tempo o la vita dei suoi soldati; voglio dei meriti nella conquista di Cales, in senato avrò un favore da chiedere.

Sono di nuovo ubriachi, festeggiano le loro ricorrenze nonostante l’assedio, evidentemente ritengono l’invocazione ai loro Dei più efficace dello scendere in battaglia. E’ il momento, tendo la catena, adesso anche se scorre lentamente il movimento estrae il perno dal muro; anche il chiodo attraversa il foro unto del masso, avvolgo la catena fra l’ascella e la spalla, oltre il collo;le strade sono frequentate ma la mia andatura incerta mi confonde con gli ubriachi,le tenebre della sera mi rendono sicuro; trovo la corda nascosta dalla fiduciosa Meridia, é dove mi aveva indicato, scalo una montagna di sassi e raggiungo la sommità delle mura in un punto non sorvegliato, forse perché non vi arrivano i camminamenti con i gradini. Trovo un comodo appiglio per la corda, mi calo giù.

Mi è facile farmi riconoscere dalle sentinelle e vengo condotto dal console Marco Valerio Corvo:

” Bene, Marco Fabio, tuo padre Caio mi ha raccomandato con insistenza di cercarti e portarti in salvo, ed ecco che sei tu a venire da me!”.

“Spero che mio padre non ti abbia recato noia, console, in dispregio alla mia capacità di difendermi e fuggire”.

“Idcirco, Marce Fabi, per quale motivo non sei riuscito a fuggire prima? Nunc ceu legioni castra posuerunt, ibi estis! In tergis luporum morsi timebas? Ma non perdiamo altro tempo: conduci con te il centurione Lucio con gli astati e portali sotto le mura, dove hai lasciato la corda ancora appesa ai merli … avrai pure usato una corda per calarti… “.

Così non ho bisogno di dare troppe spiegazioni … non é il primo imbecille che passa dal foro che il senato di Roma sceglie come console…non sempre almeno. Conduco il centurione ed i manipoli di astati sotto le mura; a poca distanza attende un’intera centuria di legionari; in quattro uno dopo l’altro gli astati risalgono la fune. Arrivati in cima srotolano delle scale di corda, i legionari salgono, troveranno i difensori ubriachi ed in disordine…l’assedio e’ finito!

A Roma viene concesso il trionfo a Marco Valerio Corvo, più in considerazione dell’ingente bottino riportato da Cales che per la difficoltà dell’assedio; la plebe preme perché nella città degli Ausoni sia stabilita una colonia, quindi al senato si nominano i triumviri che dovranno assegnare le terre ed amministrare la giustizia di Roma a  Cales sconfitta. Ho sollecitato tutte le relazioni di amicizia e parentela di mio padre, ho tediato i senatori perché ignorassero la mia giovane età, ma ci sono riuscito: saro’ uno dei triumvirii che regoleranno l’assoggettamento a Roma dei rozzi Ausoni…ho troppe cose in sospeso nell’animo.

n.d.a.: Marco Fabio e’ esistito; Tito Livio, ab urbe condita liber VIII, accenna alla sua evasione avvenuta durante l’assedio e risultata risolutiva per la guerra agli Ausoni, così come al suo ritorno (vendicatore?) a Cales come triumviro per la distribuzione delle terre espropriate; mi é piaciuto supporre che avesse atteso stoicamente il momento strategicamente migliore per evadere, ho cercato altre fonti, non le ho trovate e comunque é stato più facile immaginare la storia che, però, potrebbe anche essersi svolta nella maniera che ho narrato…

Nicola Lembo

Le due chiese

Nei suoi primi mille anni di storia, quindi per un periodo lunghissimo, la chiesa cattolica é riuscita a mantenere una relativa uniformità dottrinale ed organizzativa, aiutata dalla capillare distribuzione dei suoi vescovi, che avevano sostituito i prefetti romani nelle stesse sedi man mano che Roma cedeva il suo controllo militare e burocratico, e rafforzata dalla falsa “constitutum Constantini” che sostenne opportunamente il potere temporale ecclesiastico nei confronti degli imperatori.

La chiesa ha potuto contare in quei mille anni su un potere assoluto, esercitato su popolazioni dalla scarsissima capacità, culturale e materiale, di opporsi o proporre nuove interpretazioni delle scritture, riuscendo a superare ostacoli come l’eresia ariana, lo scisma donatista, ricomponendo ogni volta le fila del clero e l’ortodossia dottrinale.

Dall’undicesimo secolo però in numerose regioni europee la crisi del sistema feudale ha portato alla nascita di organismi comunali, con nuovi soggetti economici e culturali (mercanti ed artigiani riuniti in corporazioni, università) i quali sono avversari del potere imperiale e dei grandi feudatari, ma spesso anche della chiesa, quando legittima il potere imperiale. Molti vescovi vennero cacciati dalle città, alcuni persino uccisi: i contrasti della chiesa con i nascenti comuni infatti erano motivati anche dalla protesta contro la simonia dei vescovi, la frequente ignoranza del clero, la sua corruzione, e spesso le comunità comunali si trovarono a dare asilo a movimenti eretici (catari, valdesi, patarini) che proponevano un radicale cambiamento del ruolo politico ed economico della chiesa.

La chiesa ha superato questo cruciale periodo accogliendo e favorendo gli ordini monastici; in particolare, i francescani nacquero come gruppo laico di preghiera e predicazione, fu papa Onorio III a volerne la trasformazione in ordine religioso, in modo da assorbire le spinte riformatrici, pauperiste, eretiche della società civile che rischiavano di travolgere l’autorità ecclesiastica. Sugli ordini monastici veniva esercitato un controllo gerarchico e dottrinale molto severo, che arrivava alla persecuzione ed alla condanna al rogo delle componenti meno ortodosse, come avvenne per il movimento dei francescani spirituali, condannati come eretici da Giovanni XXII, ma nonostante le censure da questo momento la chiesa prende a proporsi con due anime: permane quella gerarchica, che tiene la guida dell’ortodossia e cura i rapporti politici con la nobiltà prima e la grossa borghesia in seguito, mentre gli ordini monastici, e più tardi i sacerdoti ed i parroci, esercitano il sacerdozio presso gli strati popolari dei fedeli, rimanendo più attenti e sensibili alle difficoltà ed alle necessità popolari.

Questa presenza di due chiese permane a tutt’oggi, con pontefici e cardinali che si affacciano dai balconi dei dittatori, mentre il clero minuto spesso compatisce il disagio delle classi popolari (è esemplare la condanna di Leonardo Boff al “silenzio ossequioso” da parte della congregazione per la dottrina della fede presieduta da Joseph Ratzinger).

E’ stato possibile per la chiesa mantenere questo duplice atteggiamento morale grazie alla duplice fonte della sua dottrina, al punto che possiamo ritenere coesistano una chiesa del vangelo che predica il perdono e l’amore reciproco, che è vicina agli umili, ai deboli, alle sofferenze umane, e la chiesa della Bibbia, che governa, stabilisce le regole, punisce i comportamenti non ortodossi.

E' un dualismo che ricorda quello suggerito da George Carlin: la chiesa ci presenta un dio che ha stabilito un elenco di cose che non bisogna assolutamente fare: se fate anche una sola cosa di quell’elenco, lui vi manda in un posto dove venite bruciati e torturati e soffrirete per sempre, per l’eternità…
MA LUI VI AMA.

The Consigliori

The Boss
Capomandamento Peppe Caccìa
Capocosca Toto 'Redotto
Capocosca Pino Suttana
Capocosca Michele Petruso
Consigliori lawyer Rocco Ramolese
Others

Capomandamento Caccìa: - "Four thousand pages ... an entire box of sheets ... what will have 'had to sing' stu curnutu to fill much paper ..."
Capocosca Redotto: - "There 'someone who has read everything?"
Consigliori lawyer Ramolese: - "I ... I had to do ..."
Capocosca Petruso: - "Gia '. Pero' left for me to understand that there is one committee that does not belong to the committee and why 'follows this camurrìa in detail."
Boss: - "Let pray, Michelino, a carton full of sheets full of crap fly each of which can 'mean life imprisonment: all were read with attention and expertise ... in any case, and' only a lawyer who can 'pick the papers filed by the prosecution and then the lawyer would have entered anyway; and 'still a lawyer who can' assess the extent of the damage and at this point you might as well for him to explain the words and music of the song he sang Antonino ".
Petruso: - "Well, Ramolese and 'a lawyer, and' also confidant of Vossia, and is comfortable; and 'also a friend of carrion that we want to fuck, but'
Boss: - "Do not start to piss off the rhinal, Michilì; we all had familiarity 'with Anthony, too, otherwise there'd be in that mountain of cards ... lawyer, there is' our capocosca Petruso in the statements of repented? "
Consigliori: - "There ''.
Boss: - "He was friends with all of us, otherwise we would speak of tradimento.Oppure you want to refer to a particular attendance, in bonds for which the lawyer Ramolese would be more 'loyal Antonino that with me? Do you know something that I do not? E in the case, explain to me 'cause I'll be talking just now? ".
Petruso: - "A particular attendance, of course, a more 'intimate familiarity', but this does not diminish the loyalty 'of Consigliori against Vossia ..."
Boss: - "Bene.Michilino made us grace to acknowledge that my trusted people are worthy of my trust ... Let's go on. Or there are other objections?"
Caccìa: - "I do not think ... true, gentlemen? Moreover, the lawyer Ramolese and 'here to illustrate the content of the testimony, not to decide measures in our place if measures will be taken. Then, a lawyer, to begin with, think you can sum up the general lines? Then let's see if there 'thing in particular ... "
Consigliori: - "I can meanwhile refer the impressions that I ricavato.Ha talked so much ... but not too much, perhaps. Brought them around, them scarrozzati for Palermo, with some also pointed out, in the region"
Caccìa: - "He mentions a relationship with the continent?"
Consigliori - "No, nothing like that, and it 'kept far below ... Antonino, I said, he talked a lot and a lot of things: I read four pages, but I got the same result if I peeled a collection of newspapers in recent years. "
Redotto: - "He explained, lawyer. That wants to mean, that took the piss out of the PM? What are we worrying for nothing?"
Petruso: - "Or we are already 'pronouncing absolution for that bastard?"
Boss- "Ridalli, Petruso. Here you who arrive already 'to conclusions, and indeed it seems that you've brought in already' packed, and some concerns me"
Petruso: - "It 's not my intention, absolutely, I was referring to Consigliori Vossia that ..."
Boss: - "... and that 'person so if my mistakes I'll have' wrong too, and we'll talk, and now we go, finally, and try to stay on the subject. The controversies we always have time to make them at the end"

Consigliori: - "Let me explain; Antonino told things they already 'know it all; provided here and there' a bit 'of details that will harm those who' already 'defendant, but does not make new revelations ... or almost ; what he does put on record, however, and that he had not heard before, in every case of its affairs, and does not pay duty here 'cause the deal he did for "repent" definitely exclude that is reached by new leaders imputation; speaks of his brother, that the cemetery no one will 'go sconcicare; tries to distract the PM with the details of the technique murderous Tonino accepts it (too late), the scarmazzo he did when, to slay the poor Scinnito before smash his head had time to distruggergli home, but he insisted on doing killings with the ax, remember? Only with the ax: it was going to risk a shootout? And he went there with an ax ... In short, Antonino accused himself, the dead and the prisoners "
Caccìa

: - "I will not raise the same concerns of Michelino, but I find it quite difficult to accept that the PM will be enchanted ... are without question the accurtatezza study cards made by the lawyer and his ability ' of understanding (we already 'teased enough, dear Ramolese): but here we are talking about impunity' or at least strong reduction of sentences offered taking very, very little in return ... someone has an explanation? "
Suttana: - "Can 'depend on what you actually want the PM ... or what you do not want to"
Redotto: - "It 's not that unusual: the PM may prefer not to deal with the new leaders of crime, need not be PM friends, that in this case we would know and we would not be surprised. They might want to avoid inquiries risky to health or stability 'policy, but can' also suffice laziness that afflicts sometimes state employees ... and in any case for a PM regretted that that four thousand pages and 'in any event a success. "
Boss: - "Keep in mind also that only those who are well studied processes can 'assess the contribution of confessions like this: a superficial analysis kythira' the number of murders of which from 'account, you will lose' between theft and robbery , then a little 'color and folklore and a theater like the one put on by Antonino makes its right effect "
Petruso: - "So having spoken only of soldiers, and only those already 'defendants, if the PM has not provided new arguments we conclude that a punishment for Antonino and' inappropriate? Or maybe give him a nice prize?"
Boss: - "We are here just to decide; what the" prize "would say that Antonino and 'still in the race ... but not hasten the conclusions, whatever they are. That is expressed everyone, including my Consigliori not will vote', but it remains the only one to date to have read the papers. "
Consigliori: - "I do not exclude that some of those present has the right 'to read my mind, but I stress that I my opinion I have expressed, I will only describe the content of the cards:
1 - no new factor valid for any investigation;
2 - aggravates its position as a sign of good faith towards the investigators (and we can also say that its problems are)
but ...
3 - adds new evidence to current processes or who have yet to begin.
Cards are well spent, jackets' stops at a very low level and we could conclude that his denunciation, procedurally, will not give 'great harm'

Caccìa - "In theory, you should not express themselves, a lawyer, but now do 'right to Michele, she seems to suggest an acquittal ..."
Consigliori: - "you get? I dwell on the third point I mentioned: for his statements, many kids already 'defendants, some already' in prison, see canceled their chance 'to defend itself; and' true that these processes already 'clear, that in all probability' will close with convictions, but we all know how even a small glimmer of hope, when you are 'in prison, it may seem that the light we see from the bottom of the well.
These are guys who have entrusted to us, they stopped on themselves the responsibility 'and have not sought reduction of sentences; now a repentant delete their hopes, as they are feeble; and even if they accepted the possibility 'of a sentence is not' a good signal to leave unpunished Antonino: pass the idea that the denunciation pay, which you can 'trust of the honored society', that is' left without defense.
Not only that every young magistrate who wants to make a name, I say, every country will feel silly sbirretto of 'give us the courage to him, thinking that we are not able to react to defections from society', we can not punish the vile, that we are weak.
You will not directly solicited my opinion, but I am compelled to express it, because of the inferences about friendship between me and Anthony, and my opinion and 'this: that Anthony can not' avoid paying the price for the accusation; not 'only game in the outcome of processes already' marked but something more 'important: the authority' of the entire organization. "

Boss: - "And with that, and 'who arranged the answers claim to know them before you have spoken.
           There are different opinions?
           ... Well, Antonino Consommo and 'dead in the hearts of friends. "

Nicola Lembo

Quantum rock - history of rock and pop music - 1990 - 2015

35007 - 22:25 & 61:74 (2005); from Eindhoven, simple psychedelia of fashion but he deserves

a refresher.

500 FT. OF PIPE - Electrifying church of the new light (2003); in Detroit between stoner and

psychedelia, a willing intense episode and meditated; imagine a compelling live act

90 DAY MEN - Hans Lucas (2000); Silver and Snow (2004); Saint Louis, Missouri, but residents

in Chicago "post rock", maintain the geometric architecture of the genre but Silver and snow

reach a lyricism which is the equal of progressive only in the 70 English classics represent

the best balance between progressive tradition and modernity 'post rock

ACETONE - Wonderful World (2001); from Los Angeles a hot guitar rock but without languor

nostalgic and wonderful world, more 'lively than their usual narcoleptic production

AGNES OBEL - Beast (2010). Danish singer (piano and voice) by the extraordinary success at

home. Imaginable delicacy without pathetic sentimentality that poison the genre; good arpeggios on the piano, which is not only an accompanying instrument.

ALBERTA CROSS - The thief and the heartbreaker (2007). English rock band from sentimental

guitar, with two two agreements, but enough.

ALEXANDER TUCKER - Saddest Summer (2006). By Kent arpeggios of acoustic guitars that

typically accompany singing: the result in this instrument, however, is more brilliant.

ALICE IN CHAINS - Rooster (1990); Man in the Box (1990); heavy metal more 'close to the

tradition, in song and in the guitars, although filtered Seattle grunge environment;

successful and timely guitar melodies inserts make the product more 'mature Nirvana

Soundgarden-strand; soft spikes and distorted guitar arpeggios, refined melodies and

screaming fury excesses provide better dynamic breath in the genre after Led Zeppelin

ALL ABOUT EVE - Infrared (1992); British melodic between new wave and glam; the melody down

and 'the first type to Pink Floyd, accompanied in more' with long lower vibrations of guitar

strings he used to give us David Gilmore

ALPS - A manha na praia (2008); Dreamy psychedelia from California.

AMERICAN ANALOG SET - Immaculate Heart (2005); Austin, Texas, home to as many other furies,

have a soft minimalism reminiscent of Can of Ege Bamyasi; acoustic guitars, piano, voice and

measured electrical chills; for the rhythm of Liebezeit go again.

AMERICAN MUSIC CLUB - I'm in heaven now (1985); Rise (1991); The Californian Mark Eitzel

offers suffered melodies, give birth to fatigue and guitars that are released in very

valuable inserts; we would have preferred a more 'ample space for instrumental developments:

Mark Pankler would have been able to create masterpieces, but it was not the appropriate

season

AMON TOBIN - Nightlife (1998); Piranha breaks (2000); Back from Space (2002); Hey blondie

(2002); Producer, DJ and outright "musician", Amon Tobin of Rio de Janeiro and 'King of

sampling: Czaikovskij from Duke Ellington to the spot "Zoppas" a carousel of 60 years, and

nothing' overlooked the sound knowledge and the set and 'a miracle of cohesion and

homogeneity' rectum on the lush and (almost) ubiquitous rhythm of batucada

ANDREW BIRD - Two way action (2001) - Skin (2003) - Armchairs (2007) - Oh no (2008) - You

woke me up (2009). Instrumentalist Chicago that oscillates between the refined lyrics and

brilliantly orchestrated and beautiful modern chamber music compositions, in which engages

with the violin in circular structures to create hypnotic minimalism and dizzying flights

and convoluted, almost unable to leave the ground to reach the ethereal dimension where

aspire (You woke me up).

ANNA CALVI - No more words (2011). Italian-British singer-songwriter in a truly decadent

charm song.

APPLES IN STEREO - Get there late (1997); we are in Denver, but the references are the

British sixties pastry and complex architectures and articulate sound of Pet (Beach Boys)

ARBOURETUM - Down by the fall line (2009); Ghost (2012). Vera modern psychedelia from

Baltimore. Ghost has good melody line, look fast and one of their classical dinghies

psychedelic, hypnotic but less monolithic than usual, with ancestors among the Velvet

Underground John Cale; Down by the fall line it is instead (beautifully) by Jerry Garcia

parts. appreciable particularly in live performances.

ASSEMBLE HEAD IN SUNBURST - End Down Under (2009). Lightweight and banal melody that though

embellishes a stoner guitar injection.

AZURE RAY -4th of july (2001); female duo Alabama (Mary Taykor and Orenda Fink) in a sweet

song seemingly fragile

BADLY DRAWN BOYS - Road Movie (1998); One plus one is one (2004); Damon Gough from

Lancashire; fortunately the declared passion for Bruce Springstine not feel, in fact his

songs are supported by arrangements and solid melodies anchored in tradition British

sixties; the rhythmic know to be bright with light gracefully

BAMBI MOLESTER - Glider (1997); Bay (2001); instrumental surf-toned and moderate pace from

Croatia. Do not have the amphetamine-like fury grandparents Link Wray or Davie Allan and

even the most 'original Man or astro man but as a style exercise and' one of the best

results of the genre

BAND OF SUSANS - Ready to bend (1988); Sin embargo (1989); Pardon my friends (1995); trivial

name due to the presence of three girls named Susan in the early experiences of the group,

with Page Hamilton, Helmet future, and especially Robert Poss who must ultimately the

minimalist style and 'son of collaboration with Glenn Branca in his symphonies electric

guitars and is' close to rumorismo guitar Sonic Youth (other collaborators Branca, anyway);

more 'of everything but' are fascinating the intertwining between the three guitars, with a

technique that has (the only?) in the previous Capt Beefheart (I'm gonna booglarize you,

baby)

BARDO POND - Tantric porno (1996); Tapir Song (1996); Yellow turban (1996); Despite the roar

(2001); Gibbons brothers from Philadelphia with a modern psychedelia that finds other

languages ​​with respect to tradition (which remain bound instead Flaming Lips (...

relatively) or Mercury Rev); Impressionism eminently guitar, with more time taken, intense

emotional charge that is expressed in long dream minimalist structures in which the melodic

swings alongside variations in intensity 'to mark the sound path of each track; They had the

rare fortune to concentrate some of the best things in one album, Amanita, indispensable.

BEASTS OF BOURBON - Bad Revisited (1990); The best expression of the Australian rock; wild

and impetuous, taking the moves from the Pretty things to process an equally immediate

language and (even more ') energetic

BESNARD LAKES - And This Is What We Call Progress (2010). Spouses Lakes from Canada and

their electric romance.

BETA BAND - Squares (2001); Unfortunate Scottish authors of great songs that mix dub and hip

hop to classical British psychedelic melodies; You would have predicted a great commercial

success, however they abandoned after a few years

BIRDS OF PASSAGE - Fantastic frown (2011). Symbol of New Zealand's Alicia Merz, whispered

melody, magical, fairy-tale.

BLACK MOUNTAIN - Druganaut (2005). Canadian psychedelia struggling with a willing rhythm

inherited from CAN Do You Right, plus a good exercise minimalist guitars.

BLACK REBEL MOTORCYCLE CLUB - As sure as the sun (2001); numbered in an opportunistic

cauldron of sixties revival, the BRMC from San Francisco instead, at least in As sure as the

sun, express a psychedelic mood dreamlike and emotional; and 'but' one of the few leaders of

their production

BLITZEN TRAPPER - Below the hurricane (2010). Country band from Portland, here happily out

generally with a composite melody and refined orchestration.

BLONDE REDHEAD - I do not want u (1995); UFO. (1995); Hated Because of great qualities

(2000); In Particular (2000); Equus (2004); Simone and Amedeo Pace with the Japanese Kazu

Machino in that of New York pay tribute to the Italian melodic tradition and the

contemporary European music culture with lyrical compositions, pulsating rhythms and light,

mingling rumoristica according to the lesson of Steve Shelley (Sonic youth), committed to

album producing debut; the transition to the production of Guy Picciotto (Fugazi) has not

been detrimental to the group, which in fact has gained in clarity of expression; plagued by

cumbersome comparison with Sonic Youth, instead have a more 'complete language and also have

the songs and play them know where Sonic Youth were masters on how you play, but did not

have the canzoni.Ai Blonde redhead did not lack anything because 'the result was remarkable,

and in fact compositional intelligence and melodies you can have enabled one of the best

results of-the-century music.

BODIES OF WATER - One Hand Loves the Other (2011). From Los Angeles waterfalls of Terry

Riley notes, than those obtained with wrist rotation "a rainbow in a curved air", plus a

song that you would have done without.

BODUF SONG - Oh Celebrate Your Vague Words And Coquettish Sovereignty (2005); Fiery The

Angels Fell (2011). Matt Sweet theme song from Southampton, at ease with voice and guitar,

but also when the atmosphere is electric button.

BONNIE PRINCE BILLY - Wolf among wolves (2003); My home is the sea (2005). Only two songs

for the lazy prince but prolific Will Oldham? Yes, but two masterpieces that are not too

troubled by anti-commercial and home-style, which is so determined to follow mister Palace

(Palace and songs, Palace Brothers, W. Oldham precisely, and then Bonnie Prince Billy, etc.,

just to reduce the public solely devoted ).

 Wolf among wolves are limited to guitar and voice, of course, with an interlude that could

have been instrumental, but Will is content to play the part of the arches with vocals in

falsetto: Pink Floyd Wish You Were Here they would do their flag . My home is the sea has

one of the most classic guitar attacks of rock music; the rest of the song is consequent.

BOOKS - An Owl With Knees (2005). The New York duo is remembered by CAN: here they are the

least valuable of "Unlimited Edition" but enriched by sober minimalist rhythmic evolutions.

BRAIN DONOR - Odin's Gift To His Mother (2001); energetic trio with Julian Cope on leave

towards more 'rock beaches and a composition that revives the English tradition of the

electric guitar, after decades of synth and cold new wave; the divertissemant unfortunately

has had episodic but leaves us to appreciate these 13 minutes (almost) instrumental with

highly successful guitar riffs and jamming nostalgia from the 70s

BRAINIAC - Flypaper (1994); slanting and eccentric song from Ohio, where the eccentric have

had so many, and I have to see Pere ubu; refer only to the latter song, but that 'does not

go beyond a metered falsetto, and the dry and light rhythm of this and that' their most

'successful episode

BREEDERS - Cannonball (1993); Lord of the thigs (1993); Do you love me now (1993); which

yields the true heir as Kim Deal of the Pixies (compares the lackluster solo career as Frank

Black ...) but then even the Pixies were never reached the levels of last splash, the

masterpiece of the Breeders. Of particular note also the fatal song and Kim lived. Harmonic

constructions with oblique edges and surprising slopes, precise amalgam (but not academic)

of rhythms and melodies, simple lyricism 'and moderate energy bursts, among the masterpieces

of the decade and beyond.

BRIGHT EYES - Lover i do not have to love (2002); Conor Oberst from Nebraska, romantic song

writer that cloaks this tender song with beautiful orchestration of large tonal charm and

discreet rhythm hip hop.

BRIMSTONE SOLAR RADIATION BAND - Dead end road part 2 (2004); Strange (2004); melancholic  

guitar rock from the northern Bergen; clear high emotional rate fables, simple but effective

technique, good dynamic difference between progressive and electrical surges slowdowns when

the province far more 'worth of

.figuri in the standings, but also rock and 'a shop, so these heroes must try to strut

BUILT TO SPILL - Car (1994); I would hurt a fly (1997); The Host (2001); Gone (2006).

 Dough Martsch from Idaho, psychedelic songs reminiscent of pastry British sixties but by

the guitar playing that well in between Dave Gilmour and Ummagumma Athom Heart Mother (Gone)

is noble references in American ancestors (Randy California of Spirit)

CALEXICO - The laughs Part II (1998); former Giant Sand Joey Burns and John Convertino from

Arizona, heroes of tex-mex but according to modern classical scheme: rhythm guitars on one

side and the other soloists, imaginable timbres desert and sunny, but does not suffer the

rhythm, alive and button, in a well known mixture but which in this case becomes the

masterpiece.

CALIFONE - On the steeple whit the shakes (2000); St. Augustine (2001); When leon spinx

moved into town (2003); Tim Rutili, already 'at the head of the project and unfortunate

meritevolissimo Red Red Meat, together with Royal Trux the best evolution of rock as read by

the Rolling Stones; but already 'latest work of Meat dissolved in a dreamlike, minimalist

fragmentation that will' of course the adventure starting point Califone

CARIBOU - Barnow (2005). Daniel Snaith the same emotional outlet: not a mere exercise in

style from Canada rereads the CAN Ege Bamyasi with grace and lightness and (almost).

CASTANETS - Song Is Not the Song of the World (2005); Lucky old moon (2009). While Raposa

from his native California to Oregon's open spaces: intimacy and cosmic breath, electronics

and rural ballad; absolute charm.

CAUSA SUI - Red sun in june (2009). Classical guitar psychedelia from Denmark, with

lots of soft start (the Grateful Dead) and growing in stoner distortion.

CERBERUS SHOAL: - Lighthouse in Athens Part 1 (1996); Omphalos (1999); Breathing machines

(2000); Telikos ii (2002); The land we all believe in (2005);

white-collar workers from Boston, with For carnation are the modern version of the

progressive: compared to the British 70's references are not searched more 'among the

romantics of the nineteenth century (Brahms, Liszt), but among the contemporary expressions

of music "written"

CHEER-ACCIDENT: - (The) Men's Wide Open (2002); Your Weak Heart (2009);

between Steve Reich and Keith Emerson (but in Your Heart Weak must survive an intro sung

more 'trivial than it did Carl Palmer); ELP in acid infusion, piano by Steve Reich more 'by

Brahms or Liszt ,: fact and' minimalism which offers the signature style of the modern

progressive rather than classical composers

CHOKEBORE: - Hit Me (1993); Shine (1993); Foreign Devils on the Silk Road (1995); grunge

from Haway but without bathing spensieratezze, indeed a constant tension along their best

stuff

CHROME CRANKS: - Pin-tied (1998), Dog Eat Dog (1999); Noise. Cosi 'and' was defined their

reading of the New York rock more 'immediate and primitive; noise less devastating than in

Cows or Unsane and more' organic plot.

CITAY - Careful With That Hat (2010); B's Secret (2010). Neoclassicism (... rock) in San

Francisco.

CLOUDKICKER - Genesis device (2008); Explore, be curious (2011). Terrorism Sonic minimalist

romance, by American Ben Sharp.

CODEINE: -Cigarette machine (1990), by Bostonians intellectuals, the praise of slowness;

narcoleptic, but from the most 'close to nightmares dreams.

COME: - Car (1991); Submerge (1992) from Boston, with the value of the vocal participation of

Thalia Zedek; passionate and intense, between the mature groups who provided a proposal more

'detailed than all'elementarismo grunge.

COMETS ON FIRE: - Brotherhood of the Harvest (2004); Blue Tomb (2004); from California

arpeggiated guitars and fixity 'immovable, both elements reminiscent Amon Duul (and here as

in other cases it shows no signs of imitation but rather takes the same attitude)

CONNAN MOCKASIN - Forever Dolphin Love (2011). The neozalandese Connan expresses one of the

most original and innovative proposals: crooked and geometerica, vague and metronomic,

forever dolphin love expresses the culmination of a symphony together pathetic and heroic.

CONSTANTINESs: -Justice (2001); Blind Luck (2002); buttons and electric songs from Canada,

brilliant and varied arrangements of guitar sensitivity 'more' American that the Canadian

province.

COP SHOOT COP: - Room 429 (1993); Surprise, surprise (1993); Interference (1994); New York

noise from brutality 'industrial; sharp edges and geometric rigor, roaring stamps for a

group of the most 'upset of the time (and were certainly not in a few).

CORAL - Far from the crowd (2005); She sing the mourning (2005). Liverpool rhythms that are

dedicated as a tribute to Jake Liebezeit, but the Can not remember the compositional

complexity, surprising melodies, or anything else.

CORNELIUS: -Free fall (1998); Japanese Keigo Oyamada, manufacturer before the composer, in

his songs is typically a predictable stylistic reinterpretation of rock (as befits the

healthy, imitator province); with Free fall but 'is an energetic and original look, a

frenetic and impetuous waterfall rolling down dragging with it, for once, the rules of good

and sterile production.

COWBOY JUNKIES: - Bread And Wine (2001); Canadian heroes alt country; We, however, 'we

prefer one episode the same conventional but more suited to' rock field.

CRIME AND CITY SOLUTION: -The adversary (1993); generated, such as Nick Cave, from the

fragments exploded from the rock Birthday party, patriarchal band of rough Australian lands,

Cave follow the geographic destination (Berlin) and the stylistic, thanks to the presence of

Mick Harvey with his rhythmic effervescence is that in Crime in Bad seeds Nick Cave.

CRUEL SEA: -Delivery Man (1993); The honeymoon is over (1993);

yet another delivery of the long years in which Australia 'was the virgin rock earth, the

place where there were no rules to follow, and genres to pay tribute: the slide guitar rock

Cruel sea in reality' is expressed according to traditional canons but with a freshness and

inventive rhythmic impetuosity uncommon in those years in the rest of the rock world.

CUL DE SAC: - Lauren's Blues (1992); The Moon scolds the Morning Star (1992); Lulli's

gangrene (1995); even at the beginning of the 90's not everything in America and 'noise and

rhythmic impetuosity; Proposals more 'meditate already arrived' from Boston, according to an

intellectual tradition that has transcended cultural genres and also the terrible decade of

the rock. It ranges from the enjoyment of a precise historical memory (the Grateful Dead to

live \ dead) in geometries that lead to more 'original structures.

CURRENT 93: -The fall of Christopher Robin (1991); in the beginning were the Throbbing

gristle, then the Psychic TV with the same Genesis P-Orridge, and David Tibet continues

alone with the initials Current 93; the example in question makes it well Genealogy of

Tibet, which continues to combine expressive crudities, scattered acoustic and electronic

saltarelli songs

DAN DEACON - Surprise Stefani (2009). Do do wap of rhythmic and minimalist electronic

walkway from Long Island.

DARKER MY LOVE - Wake (2006); All The Hurry & wait (2008). Psychedelic Californians who seem always about to give away the masterpiece but remain well below the memorable.

DATSUNS - Stud qui days (2006). Slide guitar and tradition from New Zealand.

DAYS OF THE NEW: - Shelf in the room (1997); How do you know you (1997); from Indiana two

episodes from the beloved romance also to Alice in chains: guitar arpeggios, epic song to

the Days of the news can be very good, while Alice in chains continue to be preferred in

tones more ' energetic and bright

DEERHOOF: - Milk Man (2004); Cast of crown (2006); Californians from naive vein as the

soundtracks of cartoons but animated by sulfurous spirit and great variety 'of themes, tones

and ideas-toy; maybe a little 'more' of calm and meditation would benefit to a still

substantial production

DEFECTORS: -Anglia (2003); once again from Europe (Denmark) on the classic style exercises,

eternal rockabilly, being careful not to add even a calendar day to those of 'the late' 50s

DELGADOS: - And So The Talking Stopped (1998); one of the soft songs of the Scottish squad,

which only gives a little 'to the temptation of rock

DEVENDRA BANHART- Now that I know (2005). Successful small song of the Californian, who gill

also some with Vetiver.

DEVICS: The way you sleep (1996); Just one breath (2006); rhythms, pauses, sighs and

harmonic structures, all to the voice service by Sara Lov: it was worth it, for the success

of this latest piece of Californian sugar.

DEXATEENS- Diamond in the concrete (2005); The ballad of Souls Departed (2009); from

Tuscaloosa, Alabama! Superfluous to describe the genre, but the ballad of departed souls

desert adds emotions to their predictable but brilliant rock and roll.

DIGITONAL: -Seraphim (2002); Digimitosis mix (2002); British duo of clarinetist Andy Dobson

and violinist Samy Bishai, in their compositions are expressed especially with the

electronics; Seraphim and 'a quiet interstellar voyage on a ship hip hop; Digimitosis has

the emotional depth of a funeral in space, dignified, slow and poignant.

DIRTY PROJECTORS- Offspring are blank (2012); moniker of Dave Longstreth, young Connecticut;

gospel of the XXI century off by razor guitar.

DIRTY three- Hope (1996); the restless wave (1998); Down by the river (cover of Neil Young

with Low, 1999); Sue's Last Ride (2000); Alice wading (2003); Ever since (2005); Australian

Melbourne, are one of the best proposals of modern rock, despite (or perhaps because) do not

use any artifice of study, but they play their own instruments, with a perfect blend of

violin, flute, drums, acoustic instruments and electric guitars; often their records

executions, as in Sue's last ride seem to live in the studio rather than measured and its

exciting final ride or the cover of Down by the river, where he and ennoble Low unduly the

song by Neil Young. The tones are often intimate or even desperate (Hope is the tortured cry

of those who suffer all the pains of the world): take heed tender hearts.

DJ SHADOW- fixed INCOMED (2009); American Joshua Paul Davis with a rhythmic exercise of

electronics and samples.

DM STITH- Pity dance (2009); intense and epic sounds, choir and guitar arpeggios that

inexorably roll downstream to the New Yorker David Michael Stith.

DO MAKE SAY THINK: - Dr. Hooch (1998); A week in the dark (1999); every so often someone

playing in the studio as then will 'on stage; no post production, (excess) overdubs;

minimalism guitar like that that is beautifully acconcia to rock, touches of analog

electronics with basic waveform generators and LFO (low frequency obscillator), light marks

and dilated spaces, accelerated to take the time necessary for interstellar travel

DRESDEN DOLLS: -Gravity (2003); Kurt Weill in Boston duo with Amanda Palmer - Brian

Viglione, between shadows and dark cabaret

EARCANDY: - Cloud Floating (1995); Flight of the arches (declared a suggestion from the

title) of naive electronic walkway like those used for T.o.n.t.o. in prehistoric rock

electronics

EELS: - Not ready yet (1996); Novocaine for the soul (1996); Susan's house (1996); Efil's

God (1999); Flyswatter (2000); aching Mark Everett from California claims an anesthetic for

the soul in its beautiful and moved songs, often marred by arrangements rather crude: not

'that you want to force ethereal sounds for sentimental arguments, but the rhythmic

punctuation often' intrusive.

The episodes chosen pero 'are among the masterpieces of the 90s, thanks to more' discreet

orchestral arrangements

ELBOW: - Bitten By The Tailfly (2001); i've got your number (2003); tribal rhythms, razor of

distorted guitars and keyboards, psychedelic relaxations with electricity 'which always

flows under the skin rather original in the English scene.

ELECTRELANE: - Suitcase (2005); Girls Brighton a delicate texture romantic piano, then a

sudden plunge in the 80s of metronomic rhythms and even carpet fable tones but with the

charming witch who beats impatient foot to compose a small, graceful symphony

ELYSIAN FIELDS: - Cities Will Fall (2000); ? The New York duo releases songs from coffee

'chantant for existentialists depressed like this? Poignant, melancholy song that leaves few

hopes of redemption

ESPERS- Riding (2003); Blue Mountain (2006); psychedelic romance from Philadelphia with

strong ties to the English folk tradition (Fairport Convention) than American.

FATSO JETSON: -Bored stiff (1998); the energetic California: few sentimentality; maybe no

malice, but briskly asking road

FILM SCHOOL- 11 (2006); metronome and circular exercise new wave from California.

FIREBIRD- Bow bells (2006); I whish you well (2006); Lonel road (2009); Bow Bells has a

slide opening words classic, desert, which can illustrate the cover of rock history. The

British Bill Steer forget the past with grindcore Napalm Death and Carcass and gives us the

best traditional rock guitar in decades.

FIRE THEFT: - Backwards Blues (2003); Seattle shy of psychedelia but with a well-packed song

FIREWATER: - Ponzi's Theme (1998); New York punctuated by a city traffic bass, wind

instruments that slide without incident (sin ... but Tod Ashley frontal bloody has many

facts with Cop Shoot Cop), a quiet walk, with metro measured thrill, but you and ' in the

hands of an experienced driver

FISHBONE: - Black flowers (1993); from Los Angeles with crossover funk rock reggae but with

much less of the lucky red hot chili pepper, but here 'in a fatal and psychedelic episode,

next to the rock tradition' 70s, with the classic flavor

FISHERSPOONER - O (2005); from New York with electronic reminiscent of Kraftwerk and Terry

Riley.

FLAMING LIPS- Hold Your Head (1992); Pompeii am Gotterdamerung (2006); Convinced of the Hex

(2009); The sparrow looks up at the machine (2009); Powerless (2009); I found a star in the

Ground (2001); Wayne Coyne, from Oklahoma City, are the absolute champions of modern

psychedelia. Anti-commercial and dispersed, it needs some sorting in their composite and

sometimes insane production (see last "24 hours song"). Hold your head, ethereal and

circular, it is the exercise of cleaner style; even closer, and openly, to Pink Floyd in

Pompeii am Gotterdamerung, which is like the Londoners sixties would have to play One of

these days; declared other passion, the melodies of Neil Young grafted however on complex

and irregular rhythm; I found a star on the ground is a minimalist suite of six hours

accompanied by a powerful rhythm of batucada that you have to find the time to listen: the

lazy taste it at least the first 25 minutes. He studied at Wayne Jonathan Donahue - Mercury

Rev, which, however, has capitalized a lot better.

FOLK IMPLOSION: -Serge (1999); unusual instrumental for Lou Barlow, most 'used to get lost

in smoky low-fi production of lazy songs barely mentioned (both here and in his Sebadoh)

Serge located in a deep and irresistible rhythm

FOR CARNATION: - Tales (Live From The Crypt) (2000); hypnotic and subdued space ride, mature

manifesto of post rock scene Luoisville (already 'homeland of Slint). From a time

perspective more 'enlarged can' be defined as modern progressive.

FRANZ FERDINAND- Jaqueline (2004); Eleanor put your boots on (2005); Scottish songs that no

shortage of grace and some electrical surge.

FRIDGE: - Cut Up Plan And Xylophone (2001); electronic and delicate button from London

Kieran Hebden, which alone turns on behalf Four tet, but here and 'Adem Ilhan, who appears

to be responsible for the higher melodic vein of the project as a duo

FUGAZI. - 23 Beats off (1993); Bed for scraping (1995); Instrument (1999) ;

Recap Modotti ( 1998);  Strangelight (2001); Life and limb (2001); the

big, important project of Jan Mackaye (but also by Guy Picciotto, Joe Lally and Brendan

Canty) and ' among those who are better able to equip a modern language of the traditional

rock enriching the harmonic structure of their songs a melodic vein uncommon for the US rock

and scratching with the experiences punk rock fury which received its palingenesis

FUZZY LIGHT- Through Water (2010); crooner in the tradition of Leonard Cohen and Nick Cave,

but surprisingly, the complexity of electrical instrumental inserts Watkins spouses from

Cambridge

GALLON DRUNK: - Bedlam (1993); paced, sarabande epileptic between punk and surf in this

fast-paced song that Londoners do to their city madhouse '

GIRLS AGAINST BOYS: - Get down (1993); somber gait as a sacrificial procession through the

draft Brentan Canty (Fugazi) at that Washington

GOD BULLIES: - I am invisible (1990); fierce telluric underground plot by industrial clangs

of Michigan

GOODSPEED YOU BLACK EMPEROR: - Static (2000); Rockets Fall On Rockets Fall (2002); the modern progressive from Montreal: Mahler more 'romantic who had passionate young Europeans 30 years

before: more popular' colors and their variations of intensity 'that the dynamics of the

plot, which 'slow, frayed, minutely studied until the plots more' hidden; designs and colors

are alive to form small symphonies constructed collage of themes whose listening (...

exhausting) flows into epic and lush resolutions

GOMEZ: - We Have not Turned Around The World (1999); sentimental tones by fateful song that

runs quietly without risking nerve wheelies

GRAILS: - White flag (2003); from Portland pensive guitar arpeggio that opens into a choral

symphony by small chamber;

GRANDADDY: - Taster (1999); Form the dishwasher (1999); Wretched songs (1999); I know you

'ill aim toward the sky (2000); Pre merced (2002); great melodies ranging from Neil Young to

Pink Floyd seventies (and we're not talking about imitation but of a daughter syntax of an

equal sensitivity '); arrangements are in step with the 90: gaits indolent from shoegaze,

electric chills, punctuation metronomic

GRANT LEE BUFFALO: - Fuzzy (1993); from Los Angeles a measured country that finds its apex

in a haunting falsetto; bothered REM and Neil Young to the comparisons, often they have more

'lush arrangements with respect to the Canadian (but did not take much ...) and they can not

trivial REM (and here too ...)

GRAVENHURST- Song from under the arches (2005); Nick Talbot from Bristol with classic

tradeoffs between sleepy stillness and electrical storms

GUIDED BY VOICES: - Window of my world (2004); The verbose and dispersive Professor Pollard

from Dayton sometimes find conciseness and expressiveness' full in one of his original songs

HEAVY TRASH- street Lover (2010); Jon Spencer arrives at the new century with another

acronym but it is always the New York rock and roll blues.

HELMET: - Give it (1992); the powerful Guitar Page Hamilton is sliced ​​in any doubt; pinnate

like blows of an adversary not to challenge

HOGGBOY: - Left and right (2002); grunge generation: guitars rigorous accompaniment, few

flights compared to the harmonic sequence, but in this case there 's also the fascination

melodic addition to the shake-mane pace

HOLLY GOLIGHTLY- Wherever you werw (2000); Any other way (2001); The luckiest girl (2006);

sensual and sixties, the London club smoky and nostalgic, with light braking arrangements

and percussion, rhythm guitar with a lot of vibrato and a few touches of vintage keyboards,

gives a vast discography a little 'pearl, on all Wherever you were.

HOLY FUCK- Grease fire (2010); the angry Toronto, with some emotional cloud that covers

monolithic electronics accompanied by equally granite battery.

HOT SNAKES: - Suicide invoice (2002); punk attitude but on a more 'relaxed and expressive 4

\ 4

HOWE GELB- But i did not (2006); from Arizona Giant Sand and OP8 Howe passes to the third

millennium with a more pronounced Western suggestions: pace that is the eternal rattle of a

train, guitar in a hurry to get there and brushes on the snare drum to accompany a beautiful

song.

HOWLIN' RAIN-in sand and dirt (2006); dragged and intense, heavy to find it difficult to

mark time, the dark side of San Francisco.

I AM KLOOT: - From your favorite sky (2003); one of the most 'beautiful songs of the decade

comes from Manchester, home to a good tradition melodic, but never so' effective

I LOVE YOU BUT I'VE CHOSEN DARKNESS- Fear is on our side (2006); from unusual sentimentality

for Texas Austin (Pain teens ...) a short, intense, button and instrumental romantic.

The MOTHER EART: - The universe in you (1993); from Toronto rock like romantic suffering:

calm, storm, love, revenge, forgiveness

IN GOWAN ring-Aurora (2005); Oregon a rare immersion in the English progressive sound.

INGE THOMSON-Cradle Song (2010); little voice in falsetto, "piano accordion", bells and

sweet tunes from Scotland.

IRON AND WINE: - On Your Wings (2004); l 'bloodless Sam Bean from South Virginia with a

metronomic eletroacustico picture naive.

JAH WOBBLE INVADERS OF THE HEART: - Visions Of You (1991); - Becoming More Like God (1994); Former Public Image Limited bassist dub offers a fascinating enhanced by Sinead O'Connor

voice that remains close to the rock experiences rather than electronic shortcuts like that.

JAMES BLACKSHAW- The cloud of unknowing (2007); English acoustic guitarist who inspires in

his only album to the American tradition of Robbie Basho and John Fahey rather than the

English one of Bert Jansch.

JANE'S ADDICTION: - Mountain Song (1988); Summertime rolls (1988); Angelenos Dave Navarro,

Perry Farrell embody the most 'deservedly popular expression of' 90s rock revival

JESSE SYKES & THE SWEET HEREAFTER- Like love lust (2007); Instrumental (2011); The guitarist and singer Jesse from Seattle with the other guitarist Phil Wandsher; Electric rock,

psychedelic, in the great American tradition, especially when he can do without the excess

of sentimentality.

JESUS ​​LIZARD: - Blockbuster (1989); Bloody Mary (1989), Monkey trick (1991); Perk (1992);

Thumbscrews (1994); 50cent (1994); Texans Austin, they know that they belong to the punk

generation, it has not 'a genre so' narrow that can 'contain them; an inexhaustible source

of energy underground runs every moment and the continuous surface eruptions make the

standard fire and bangs are not spared to effect; if anything, are the rare and fascinating

sagging psychedelic to surprise and anything suggesting that less fury would have produced

even better results, but it 's a very good' settle '

JET: - Radio Song (2003); sometimes the song English pop manages to avoid being dull and

find a sincere melody

JIM O'ROURKE - Halfway To A Threeway (2000); an unusually essential O'Rourke, singing and

guitar, no acrobatics from neoclassical modernism: better that way '.

JOHN GRANT- I wanna go to marz (2010); singing from the arrangement small discreet and

delicate, the singer from Denver unfortunate career was finally helped by Midlake who

accompany him in the studio (after he had supported them on tour).

JOKER'S DAUGHTER- Jesse the goat (2009); still a voice, that of the Anglo-Greek Helena

Costas, disturbing and childish, reminding Hope Sandoval (Mazzy Star) which, however, is the

greatest value of this small song

JONATHAN WILSON- Desert Raven (2011); Natural rhapsody (2011); Valley of the silver moon

(2011); perhaps the only major output of recent years, the whole album is inspired by the

best rock era of '68 gold - '71 but the brilliant lungocrinito of North Carolina has not

been confirmed by subsequent work, distracted by his expertise as a producer, even to the

point of treating his next job as a sterile prodottino from easy listening. In the meantime

"Gentle spirit" enters the history of rock with its flavors Byrds / Crosby and psychedelic

and composite Valley of the silver moon, a true masterpiece of the genre; as it happens a

few times, not a genre for nostalgic product but a work that shines with its value, to be

placed on the shelves immediately "if a could only remember my name."

JON SPENCER BLUES EXPLOSION: - Afro (1993); Soul typecast (1993); Sweatr (1994); Cowboy

(1994), I wanna make it all right (1998); Calvin (2000); Killer Wolf (2002); blues

unstructured and exploded into fragments beefheartiani in the debut work, certainly more

'enjoyable when Jon has reassembled the pieces in more' organic plots; important the

presence of Russell Simins: backbeat, jumps and frattture but also the example more 'near

Jake Liebezeit (Can) on how the battery can participate in the preparation of the

composition

JULIE'S AIRCUT- Sator (2013); from Sassuolo young men who remember the Neu!

KARATE - Concrete (2004); indolent and leaving, someone must have convinced them that

emotions are bad; Concreter and 'by the parties of the narcoleptic School of Codeine

KARMA TO BURN - 20 (1999); 32 (1999); Elementary geometric formula but effective: powerful

guitars, fast pace and regular, mandatory unison; heirs of the tradition of instrumental

surf Link Wray but despite the modern possibilities' of the distortion, much, much less bad

KASHMIR - She's made of chalk (2005); shipped, lyrical and dreamy rock from Denmark.

KONKI DUET - imawa Moors ninth kani (2004); Chimes insisted for a haunting dirge naive;

reminded of "an immate lullaby" (Gentle Giant)

KRAMER - The Bosom Friend (1992); Overture (1992); Welcome home (1992), a great waste:

beautiful themes mentioned that pretend to leave and remain there ', aspects of traveling

but not take off; good but frustrating; even with B.A.L.L., Bongwater, I listen to them but

frusterei them.

KULA SHAKER - Govinda (1996); psychedelia topped with tablas and sitar for a light oriental

charm; harmony and traditional rhythm of rock

KYUSS - Apothecaries' Weight (1992); Freedom run (); Writhe (); Stoner rock, they called it,

in homage to the rudeness of the age 'of more' stone to a hardness that is not 'excessive;

the sort starts from the Blue cheer low and vibrant drones chirarra and sees by Kyuss

perhaps the only listenable production.

LABRADFORD - Lake Speed ​​(1996); and Jonathan Morken (1999); minimalist tale, dreamlike

flight and intense motivamente; the only interesting group of the faction «soft» the so-

called post rock, the breed that 'those who in soft sounds banal harmonies and melodies were

highly discounted rearguard cold picking up fragments exploded previous generations (the

other faction and' that of "math rock" in clear imitation king crimson-red and of which we

will not either, given the absolute sterility 'like that);

LAIBACH: -God is god (1999); Balkans on fire! Tough, violent episode backed by guitars with

martial-industrial rhythms, cinematic story from keyboards and choir apocalypse

LAMBCHOP: - The Saturday Option (1998); serene and whispered song about Hawaiian slide

guitar from Nashville

LANSING DREIDEN - A Silent Agreement (2004); the long wave My Bloody Valentine in a

melodically episode managed and equipped with more 'thoughtful arrangement and complex than

other such evidence

LAUGHING HYENAS  - Walk (1992); Each Dawn I Die (1995); the immortal rock tradition; Each

dawn the die has a guitar drawing an enjoyable harmonious circle, singing and punctuation

soloist and avoid any excess, fatal and excited tone, a very sincere proposal

LEMONHEADS - Secular Rockulidge (1996); calligraphic arpeggio swept away by a tornado of

guitar violence, thoughtful tones from the apocalyptic statements

LES CLAYPOOL AND THE HOLY MACKEREL - Hendershot (1996); prolific, sbrodolante virtuous super bass, Les Claypol in Hendershot achieves a rare balance between lofty instrumental expertise

and concrete expressivity 'stylistic

LILIUM- One bear whit me (2010); French Pascal Humbert is lost to Denver, where it is

supported by members of Wovenhand and Sixteen Horsepower: roots tradition with lazy guitars

and widespread electricity in the background.

LIQUID SOUND COMPANY - The Art Of Ecstasy (2000); soft minimalism, than that learned by

tracing spindly guitar arpeggios in the bedroom; the orchestration, however, 'in this case

approaching the tests' cosmic 'more' brooding Ash ra tempel and Amon Duul

LOOSE FUR - you were wrong (2003), the side project of Wilco (more 'Jim O'Rourke) releases

an intimate song accompanied by eccentric guitar touches

LOW: -Diamond (2000); Juli (2001); "Slowcore" from Duluth, Bob Dylan home, feeling pure, the

most 'exciting and deeply moving songs of the decade; of how it manages to be more' intense

diluting times and metric

LOW & DIRTY THREE: -Down by the river (1999); the song of Neyl Young ennobled beyond measure

by an instrumental intro and subdued lancinata and variations of intensity '' the lack of

which is the largest of the Canadian limit

MAGIC LANTERN- On the dime (2010); Californian psychedelia with Hawkwind intensity.

MAKE UP: - Free Arthur Lee (1998); Little black book (1999); The bells (1999); singing in

the Malcoom Money (the first Can) for crooked songs between psychedelia and garage with a

few flights of fancy but good plots harmonics

MANDO DIAO- Added family (2005); beautiful song in a discography otherwise dull, the Swedes

are decadent tone and antemico chorus, choir soul and good production.

MAN OR ASTRO MAN?: -Taxidermist Surfing (1993); Sferic waves (1995); Interstellar hardrive

(1999); Engine of difference (1999); surf and sci-fi imagery years '50, with an eye to the

sick surf reinterpretation of Holiday in Cambodja (Dead Kennedys)

MARK MCGUIRE- Clouds rolling in (2010); from Cleveland a perfect follower of the solo guitar

of Manuel Göttsching: despite the technological evolution of 35 years spent in the meantime,

seems to feel even the 4 tracks of the guitarist Ash ra tempel.

MARS VOLTA- Miranda, That ghost just is not holy anymore (2005); The widow (2005); Dumb

waiters (2006); Vishera eyes (2006); Agadez (2008); Mars once or rock maturity for the third

millennium. Mexicans more gringos to El Paso, Texas, leave the "post-hardcore" of the

original group, the At the Drive in, remembering always the energy and the metal bumps, his

romantic expressionism, to embrace a vision of universal sonic : from rumorismo Miranda,

whose stellar sound waves are solved in a song lyric trumpet to mariachi and a song to

serenade hopeless, with cosmic dispersion of the final sounds, to more traditional

approaches; with their epic melodies and frenetic rhythms seem not to neglect any element of

sound knowledge.

MASSIVE ATTACK: - Angel (1998); Man Next Door (1998); Angel and 'dub tense and austere,

haunting story, intense in a sick and alienating, beloved by cinema in the income rationem

scenes (The snatch); Man next door has more 'singing and extended

MASTERS OF REALITY: -Jody sings (1993); variously inspired (see Mark Fry for "Kill the

King") express Jody sings a perfect exercise in style Spirit

MAZZY STAR: -She hangs brightly (1990); after the Californian psychedelia eighties of the

Rain Parade, singing provocative Hope Sandoval accompanies this highly successful episode

played on a harmonic plot monotonous with hypnotic trance guitars and keyboards but with

percussive energy that makes the trip hallucinogen dynamic.

MEDICINE: - Wash Me Out (1995); I Feel Nothing At All (1995); Farther Down (1995); School My

Bloody Valentine, but the air of paichedelico Californians provides better results; Jim

Putnam, more 'Later with bros Radar, equally talented and unlucky

MELVINS- The ballad of Dwight Frye (1992); Going blind (1993); Hooch (1993); Lizzy (1993);

At the stake (2000); Let it all be (2000); The anti-vermin seed (2002); Dog Island (2008);

at the turn of the century, represent them both with their version of the maturity of the

metal: from Sabbathiani themes (Going blind) to maturity fiercely minimalist, which is no

stranger to the obsessive lesson Big Black-Steve Albini (The exemplary anti-vermin seed,

which deserves careful listening: the rock was never further from the background music and

entertainment), through a thousand episodes also melodically successful; the harmonic

structures of the Washington trio are not limited to accompany the classic guitar riffs but

the gym for a thoughtful tone search, for a sometimes exhausting but exhilarating minimalist

progression.

MEN WHITOUT PANTS- And the girls go (2009); cheerful and pulled the guitar riff for the

garage rock of the Jon Spencer drummer.

MERCURY REV: - Chasing a bee (1991); The funny bird (1998) The Dark Is Rising (2001); black

forest (lorelei) (2005); diamonds (2005); Secret for a Song (2005); first two albums as

legitimate heirs of the best Pink Floyd, those still illuminated by the genius of Syd

Barret, but without any temptation imitative: the 91-93 works are dreamlike psychedelic,

noisy guitars, flute and electronics merge into torrential psychedelic squares that need to

much to the school of Wayne Coyne (Flaming Lips) who Fridmann, also a producer, and Donahue

were formed.

 The psychedelic adventure lasts two albums, then the singer David Baker leaves and Jonathan

Donahue takes advantage of close vocal timbre to Neil Young to set the song in the style of

the Canadian but with lush orchestral arrangements and epic themes that will allow the group

to express Buffalo masterpieces.

MI AMI Dreamers (2010); unrolled guitars on a percussive carpet that would have liked to

Santana; It is the only similarity, however, with these versatile Californians.

MICK HARVEY- Come on spring (2005); on leave from the Bad Seeds, the Australian companion

Nick Cave maintains lightness and rhythmic effervescence of the Bad Seeds mature.

MISSION: - In Denial (2001); epic song from the 80's new wave of former Sister of Mercy,

here the second stage of their careers but still immersed in British gothic flavors

MOGWAY: - Like Herod (1997); authors of monolithic works where nothing 'left to the

harmonious composition or a particular fancy in the expression of the individual

instruments, specimens, however,' as to the method of composition based on the variations of

intensity 'sound

MOON DUO Ripples (2009); Sparks (2012); Suicide Reve Vega grafted on Loop continuum and cool

rhythms of Spacemen 3, but unlike the British Californian duo has improved the west coast

psychedelic guitar instrumental son approach.

MOTHER TONGUE: - Burn Baby (1994 \ ep 1996); mannerist rock song played no frills; dry and

immediate, explodes with a great gimmick battery (more 'effective in the ep version)

MOTORPSYCHO: - Have Fun (1992); Sister Confusion (1992); The wait (1992); Nothing to say

(1993); STG (1996); Taifun (1998) Starhammer (2010); too broke his balls with the story of

the revival of the 70s; and 'rock, the Norse, in the full sense of the word and bears

comparison with any precursor of you folks want to find (the British hard rock or rather

northern European, energetic psychedelia of Blue cheer) and in fact expressed its own

language, filtered, as and 'inevitable when not' mediocre calligraphers, punk and grunge

from the experience of the decades since the '70s; a proposal that and 'really' original

despite being in the great rock tradition; avercene ...

MUDHONEY: - Crooked And Wide (2002); other good interpereti rock accused of revivalism; as

Motorpsycho, you can 'do not ignore the effect that the history of recent decades about

their music, with the inevitable and salutary reverberations punk and grunge (whose last

kind in reality' are registered)

MUGGS- Underway (2005); from Detroit breezy pace and more 'lyrical guitars and psychedelic

than those to which we have become accustomed to MotorCity.

MUSIC: - Dance (2002); English from the hectic pace and singing by the muezzin Neapolitan

MY BLOODY VALENTINE: - Emptiness inside (1992); Only shallow (1992); coupled conventional

singing languid melodies sixties \ distorted guitar with mismatches tone reminiscent vinyls

loose in the sun; a deluge of followers, but among the forerunners of the genre worth

mentioning Jesus and Mary Chain, equally lyrical but more 'bad in noisy sound

MY MORNING JACKET- Off the Record (2005); one of their usual sciape songs, but the 5

Kentucky dallaseconda half this release a song inspired psychedelic mood, a bit 'like the

Rolling Stones in "2000 light years from home."

NASHVILLE PUSSY- Hate and Whiskey (2005); Pussy Nashville; rivers of alcohol, local chaotic

smoky, heels of boots that carry the time on the stage boards: what else? AC / DC more

bluesy and angry.

NERVOUS CABARET- Alone Together (2006); singing trailed drunk crooner, guitars and horns in

solidarity in alcoholic depression, sincere lyricism to an eccentric song from New York.

NEUROSIS: -From the Hill (2001); bad people who take all the time you need to explain 'cause

they hate you; Cadence heavy, voice grindcore, bagpipes atavistic

NICK CAVE AND THE BAD SEEDS: - Long time man (1986); Muddy Water (1986); Deanna (1987); The mercy seat (1987); The Good Son (1990); The Hammer Song (1990); I Had a Dream, Joe (1992);

When I First Came to Town (1992); Do You Love Me (1994); Red Right Hand (1994);

An Australian of the best writers of the century songs ... After wild beginnings at home

with Birthday party, the young Cave refines the language, he moved to Berlin with a handful

of precious, decisive instrumentalists, dry, firm but light and spirited; in Europe the

preference for specific forms of American popular music, rhythm and blues and beloved

harmonies songwriter Leonard Cohen on all

NINE INCH NAILS: - Where Is Everybody (1999); The wretched (1999); Trent Reznor, the more

'bad batch: industrial rhythms, deep thumping bass and percussion, powerful blades that fall

from guitars to one of the Apocalypse show

NOW IT'S OVERHEAD - who's jon (2001); Conventional hand of minimal and remarkable precision

mechanism from Athens, Georgia

ONEIDA- Spirits (2005); electronics and psychedelia in Brooklin, more often unrealistic and

superficial. "Spirits" instead keeps the sarabande rhythm and instrumental disorder in a

more organic way.

OP8 - Cracklin 'Water (1997); Tom, Dick and Harry (1997); the martial Howe Gelb (Giant Sand)

enriches the program with exciting Lisa Germano and panache ... Arizona-Mex Calexico Burns

and Convertino; the result is' such as to update the coordinates of psychedelic rock.

OPHET - a value judgment (2002); progressive samples coated metal, make a fascinating dirge

with a melody of those giureremmo to have heard in our childhood; Of course, there is not

pissed barrel, despite a lullaby

ORBITAL -The Box (part 2) (1996); rare example of modern electronics that does not drown in

a simple rhythm (and that 's what is the case as a rule, requiring regular tum-tum of the

bass drum to allocate the product to the dance halls); the timetable batucada adding a happy

choice melodic timbre and a metric that does not betray the effervescence of rhythm.

OXBOW- Insane asylum (2006); where insanity expresses more reason. Eugene Robinson from San

Francisco, muscular man suffered from hand up to falsetto (more unsettling Bob Hite), blues

violence on two drum tones of dramatic entertainment, orchestration artist well thought out

and not at random for a violent tornado.

PAIN TEENS - Body Memory (1993); Texans terrorists from more 'rational rumoristico disorder

than the noble progenitors (Red Crayola)

PAPA M - Beloved Woman (2001); whispered singing, rhythmic sent by former Slint David Pajo,

gia 'stage creators' post rock'

PARADISE LOST - enchantment (1995); intro piano sentimental, romantic parable upsets in the

heat of the guitars and singing not grindcore as usual but restrained and fatal

PAST LIVES- Paralizer (2010); Seattle, rhythm from Neu! And pounding bass as he liked to Joy

Division.

PATRICK Watson Daydreamer (2006); from Montreal a picture naif in the language already used

by Pram. A romantic floor with corners from horror films, a delicate swirl of hand, Hawaiian

guitars, banjo, drums and delicate button; a dream ready to cross over into a nightmare of

Tim Burton.

PAVEMENT - Texas Never Whispers (1992); songs from an oblique world near the planet of the

Pixies, at least in the best episodes

PETRA JEAN PHILLIPSON- One Day (2005); tenuous song in Joni Mitchell ropes at that Brighton

PHISH - Rift (1993); Axilla, Pt. 2 (1994); grew from the same roots of the American

tradition of the 70's, are among those who have chosen to save time and meter of rock

measuring solipsistic virtuosity that have undermined the genre, keeping time shipped by

bluegrass but without yielding to the rhythmic convulsions more 'modern

PIANO MAGIC - Son de mar (2001) arches engaged in a melancholy, static flight indifferent on

the flow of time

PINBACK- Hurley (2000); B (2003); Byzantine (2006); He arrives in San Diego the long wave of

Slint in arpeggios from bedroom guitar but with more rhythmic verve and pathos than wide

competition.

Pitchshifter - Stop talking (so loud) (1992); noir tale of dub rhythm, Until that breaks the

usual ferocity of 5 Nottingham

PIXIES: - Monkey go to heaven (1989); Ana (1990); nostalgia sixties in naive sauce; dry

stamps and scratching, from Boston to Black Francis and Kim Deal, aquest'ultima still piùi

top with Breeders

POLVO - Vibracobra (1992); sound architectures that defy the law of gravity ', mentioned

here, however,' in one of the episodes more 'concrete; the epigones of the genre ( "math

rock") were much less creative, lying on the rehash of King ripe crimson

PONTIAK- How tall are you (2006); Aestival (2009); Seminal shining (2009); The north coast

(2012); between Virginia and Baltimore, the same harmonic structures dilated and the same

time the patients Arbouretum, the same guitar strokes for a modern psychedelia that the two

groups are building together (even with the split in the "Kale" cooperation), the Pontiak

more dynamic sound intensity and less "historical references".

PRAM: Omnichord 2 (1998); singing fable of travelers sent to rytm box, naive arrangement

rich and sensual from North Yorkshire

PREFUSE 73 - Extinguisher (2003); Scott Herren with a brooding dub under the evening lights

of the city '

PROJECT PITCHFORK - Odyssee (2003); The Touch (2005); Electronic martial exercises, timbre

rich and brilliant; heartfelt industrial metal tones to update the German electronic

tradition

QUASI: In case of no way out (2001); from Portland a lyrical, beautiful melody from the

classic flavor

RACONTEURS- Level (2006); Steady as she goes (2006); revive Led Zeppelin without imitating

them, nor in Robert Plant singing neither in Jimmy Page's guitar, but rather compenetrandone

harmonica essence and seventies breath (Level) and together remember to White Stripes:

gentlemen, Jack White.

RADAR BROS: Stay (1996); song without time: as if they were Radiohead is romantic but not so

'whining; Jim putnam (already 'Medicine), among the unrecognized genes that deserve revenge

RADIOHEAD: Blow Out (1993); Just (1995); Creep (2002); the episodes seem best ones where the

sentimental singing alongside good razor guitar, non-trivial harmonic turns, more time

'supported

RADIO MOSCOW- 250 miles; psychedelic Hendrix from Iowa (attitudes, certainly not in the

guitar virtuosity).

RAILROAD JERK - what did you expect (); deep flavor of America: shoulder guitars, trains

approach on ancient wooden docks in forgotten outposts in the desert

RAKES- We are animals (2005); irresistible guitar riff for a song to dull the Clash.

RAMONA Falls- The darkest days (2009); sophisticated orchestration to psychedelia

imaginative dedicated to the Oregon cascades.

RAY THE MONTAGNE- Lavender (2014); nostalgic psychedelic flavor than American guitarist from

New Hampshire

RED RED MEAT - snowball (1992); Moon calf tripe (1993); Smokey Mountain (1993); Flank

(1994); Idiot son (1995); Sulfur (1997); Chinese Balls (1997); blazing sun that melts the

guitar chords, psychedelic desert ... and never would you say you are from Chigago, if not

for the elaborate, fine harmonious work that unites them to others of the same generation

interpreters and geographic region (typical treatment solo parts in harmonic function rather

than melodic or coloring). Valuable even the most 'traditional references that have

attracted the ears of the most' the Rolling Stones: attention, however, 'never speak of

imitators for our heroes, but certainly of equal sensitivity' rock: the Red red meat would

exist even without Jagger and co. Their fascinating history and more and more 'continues

hallucinated with Califone

REIGNING SOUND - Funny Thing (2004); good song, with everything as "must" be: classic time,

breaks provided, discreet and modest singing guitars and secure

REX: Audrey La'mort (1996); the praise of slowness, already 'dear to Codeine (Doug Sharin in

common); Here coordinates depart from the bedroom of Slint agreements but fail to lick a

certain intensity 'expressive

ROCKET FROM THE CRYPT - pushed (2002); classic pounding that you only hear you open your

heart, when they leave the guitars and come nitely conquered; classic and eternal rock that

does not ignore but 'punk hardcore lesson

ROLLINS BAND - Low Self Opinion (1992); Grip (1992); Disconnect (2002) Liar (2002); Flying

stones: a form of very hard guitar chords, remarkable for intensity 'painful and heroic;

shaped screams, pleas and curses of those who do not understand 'cause you do not recognize

the right path. The rhythmic laying solid beams for sparkling acciaio.di Henry Rollins

buildings, already 'punk hero with the Black flag

ROYAL TRUX: - Map of the city (1995); Shadow of the WASP (1995); Cold joint (1997); modern

but close to the traditional idea of ​​rock; and 'it spends on their comparison with the

Rolling Stiones: I mention it to entice you to listen, but never speak of imitators rather

equal sensitivity' in dealing with the eternal 4 \ 4 of rock ... and at their best , Red or

red meat, rather than gfli Stones post '71. Their language and 'more' defined and conscious,

in the age 'mature, dell'ubriacatura Beefheartiana of the beginning

RPWL- Sleep (2005); Indian tablas, upbeat pace and razor guitar offset the weak melody of

the German group, which has never been repeated.

SECRET MACHINES: - Daddy's In The Doldrums (2006); episode built on ostinato hammering of

Echoes (Pink Floyd), who had already 'fascinated Young gods, in the same period (which were

even ricorsdi sampling), in a willing attempt to perpetuate the life of psychedelia

seventhies

SHALABI EFFECT: - Imps (2003); About nostalgia seventhies, what's' best and tablas (guitar

that mimics) sitar? Episode of great value, however, by the complexity 'rhythm that updates

the genre according to contemporary standards. From Montreal, a hothouse of free minds

fashions

SHEARWATER: - Soon (2002); delicate song that shows how the possibilities' melodic tonal

system are by no means exhausted

SHELLAC - Doris (1993); the idea of ​​north (1994); Mouthpiece (1996) Mistakes; did not we

deserve to look at you the way you rea (1998); pure ferocity, without equal, which is not

found either in the heroes of the industrial cadences (Ministry, Nine Inch Nails) jackets'

Steve Albini does not rely on stamps and distortions, but directly to a syntax that invents

a language of anger, hatred stubborn, obsessions detained grueling dirges mettalliche (didn

....) or shout despair and cynical sneers. Steve Albini and 'essential landmark for

subsequent generations of rockers (along with the Melvins), for ultraminimalista lesson

(again, the reference and' did) and a sound that updates the tone of the classic rock trio

according to natirale evolution, not a simple technological leap (and Steve 'was also the

producer of Nevermind, Nirvana's blockbuster and during the entire rock revival movement)

SHIPPING NEWS - (morays or) demon (2005); guitars and bass grate soft power, with the

necessary patches liberators; Song not at all obvious

SIX ORGANS OF ADMITTANCE- Close to the sky (2012); thick colorings Ben Chasny guitar, even

in the Comets On Fire.

SLINT: - Breadcrumb Trail (1991); the sound revolution starts from the bedroom: songs built

with succession of chords and arpeggios found in the sleepy afternoon breaks; resulting

architectures harmonics among the best of those who still seek to free themselves from the

harmonic sequence of the blues; and 'it born a genre (post rock ...) but that' and 'full

stems degenerate pale exercises of guitars that would be insufficient even as an exercise

amateur, amorphous doldrums melodic and rhythmic, the Slint deserved best students

STEVE GUNN- New Decline (2013); guitar in the American tradition of John Fahey and Robbie

Basho but without sacrificing the rhythmic and bets on electric guitar.

STROKES - Juice box (2005); successful riff among the few things to remember of New Yorkers

already hailed as yet another next big thing that did not have developments.

SUPERGRASS - Caught By The Fuzz (1994); Odd (1995); Caught By The Fuzz has the flavor of the

classics: we do not believe that it is not 1980; when recovering from 'styles these results,

not' right to speak rearguard; Odd then plunges in the 50s, and it 'another great journey

SWELL: - Suicide Machine (1991); (It's Time To) Move On (1993); Glad to be alone (1994);

make up your mind (1998); next to nothing (2003); sunshine everyday (2007); David Freel from

San Francisco the proposal more 'underestimated the story: the point. Memorable melodies,

brilliant rhythms, sometimes twisted, ingenious arrangements characterized by sudden razor

guitar, all with accessible language, even to the crowds that graze at the court of the

Muses or later, stringy Pink Floyd

SWERVEDRIVER - duel (1993); decadent guitars of the 90's: specific genre, but Swervedriver

were among the best

TH 'FAITH HEALERS - everything, all at once forever (1993); elementary, obsessive, hypnotic,

one of those songs that production push down the disk, away from the attention of radio

programmers, but the distance is these that remain.

TIED AND Tickled Trio - The Long Tomorrow (2003); tasty lounge episode for the German trio,

dedicated generally more 'sciapi and impalpable glitch

TINARIWEN- Toumast tincha (2014); sounds' desert, but we're not in Texas, rather in the

Sahara of Mali; between electric guitars and traditional instruments.

TINDERSTICKS - Tiny Tears (1995); tying the virtues' crooner Leonard Cohen (and serene,

desperate lamentations of Lou Reed) to underground rhythms and buttons, punctuation rough

keyboards (as already ', with variety' major, Nick Cave); The formula works once again

thanks to the discretion of the arrangements and the intensity 'of some emotional melodies

TITO AND TARANTULAS - After Dark (1996) Tito Larriva, Mexican in Los Angeles, belongs to the

rock school which dates back directly to the Rolling Stones, but gets torrid After dark,

though in a system (harmonic, rhythmic, melodic) Traditional individuality 'expressive of

the masterpiece

TRANS AM - Interstellar Drift (2010); an energetic and precise rhythmic stand up to strong

thread flights ethereal kite; that of Trans am they called post rock, but we prefer this

episode very rock and properly

TUATARA - The melting sun (2002) supports a batucada hip hop sounds' from western Japanese,

from Seattle, curious collaterle draft Rem members, Screaming trees, Chills ...

TYPE O NEGATIVE - Christian woman (1993); Summer breeze (1993); Love You to Death (1996);

Red water (1996); Go to sleep (1996); White slavery (1999); band of the late Peter Steele

that has 'stood for the virtues' singing and composition of the frontman but also and

perhaps more 'for quality' instrumental guitarist Kenny Hickey, the debtor Tony Iommi style

(Blac Sabbath); from Brooklin, urban suffering, anger and fury for a mature result and

compact among the best in the genre gothic doom metal

UNWOUND - terminous (2001); The masterpiece of progressive 90's incredible to believe, in

full grunge era, combines contemporary, convoluted guitar licks that do not dare to break

away from the rhythmic roots of the song, a rhythmic pounding of those taught by Steve

Albini (Shellac) added pero ' in a complexity 'hectic that you can' find in the contemporary

Amon Tobin and intense violin flights that can not fail to remember the Curved Air (also

common the minimalist attitude, manifested and rather passive in Curved Air, better

interpreted by Unwound), but maturity 'rhythm of the song puts Unwound (even more' than) 20

years ahead

URBAN DANCE SQUAD - Deeper Shade of Soul (1990); contemporary with the Red Hot Chili Pepper,

have, like them, approached rock and hip hop, but the similarity ends there: more 'with rock

guitars Red Hot, more' linked to dub The Urban dance; the geographical provemienza

(Netherlands) probably has influenced the commercial success

URGE OVER KILL - Emmaline (1991); Girl, you'll be a woman soon (1992); Goodbye to Guyville

(1992); Emmaline is not 'that Odin's Gift To His Mother (the Brain Donor Julian Cope.

Authors of a couple of good songs, one of which (girl, you'll be a woman soon) pardoned by

the attentions Tarantino (Pulp Fiction) but they failed to take advantage. Good guitar rock,

and even when 'nostalgic and unoriginal (copies more' or less declared separately).

VERUCA SALT - Get Back (1994); from Chicago singing and movements from rrriot girl repented

for a successful episode flavor of a classic

VERVE - Reprise (1995); delicate and dreamy British psychedelia that fails but 'to update

the genre

VETIVER - Luna sea (2004); yet another Californian melodic episode, the song has succeeded

melody, classical arrangement and polite and conciseness of expression

VOICE OF THE SEVEN THUNDER- Kommune (2010); The bourning mountain (2010); British who

remember Amon Duul II, in particular of concrete and electrical ones of "Live in London",

and Hawkwind.

VOIVOD - Clouds In My House (1993); energetic Canadian rock track with the precision of the

grooves left by a tank, but do not miss' of agility 'and Happiness' expressive;

VUE - do you still think of him (2001); among the many groups that have proposed the 90 rock

being careful not to depart from the British reading '60, the one sown by the Who, Faces

etc.. the lack of an original language (not easy, the rest) and 'compensated by the happy

composition vein

WARLOCKS - Left and Right of the Moon (2001); pinkfloydiana melodic sweetness of small

rhythmic and harmonic structure that does not allow special flights of fancy but just there

to fool the nostalgia

WHITE DENIM- Let's talk about it (2008); fanned sour guitar riffs and stumbling

minimalistic; Austin-Texas.

WHITE STRIPES - dead leaves and the dirty ground (2001); I'm Finding It Harder To Be A

Gentlemen (2001); Now Mary (2001); the hardest button to button (2003); Jack White had

everything to revive the glory days of Led Zeppelin and perhaps do even better (even a dwarf

sees more 'far of a giant if it mounts on his shoulders, and Jack is not a dwarf'). Great

songs that deserved the tone coloring of a trio, at least, however Jack sacrifices the best

of his production in duo with Meg White on drums and gaunt overdubs; when you and 'decided

to adopt a comprehensive training, it was too late, the creative streak had outdone se'.Il

repertoire still remains plentiful and excellent.

WIRE TRAIN - Spin (1990); already active 'by '80 in San Francisco, will release in '90 this

episode of great rhythmic grace, rather isolated in their discography). Play rock as if

humanity 'had not overcome the obstacle of 1975, they did not provide m any good evidence,

but Spin deserves the presence in the perfect compilation of every lover of rock

WOODEN SHJIPS- Motorbike (2009); psychedelia such as practicing the Opal (other

Californians) 20 years earlier: in short ... from Ripley Johnson, even in Moon Duo.

WOODS- Cascade (2012); rolling guitars, psychedelic disordered suggestions even from

California.

WORKHOUSE - John Noakes (2003); exercise room on rhythm guitar by bandistico, has the right

power surge that disturbs the peaceful sleep like a bad thought

XX- Cristalised (2009); London soft melody and guitars alternating modesty and desire to

wake up.

YAMANTAKA- Oak of Guernica (2001); Canada still open group (after Godspeed you! black

emperor, Silver mt. zion) and again with the same expanded atmospheres, dreamy and noisy.

YOUNG GODS - Skinflowers (1991); the Fribourg Swiss offer perhaps the most 'homogenous

mixture of original sounds and samples; nastiness to the Ministry, stamps and razor guitars

(sampled) as a result.

ZEPHYRS - Voltage What Is The Moon (2005); the grace of a song that knows how to tell a

story even without words, quiet and bucolic clouds shady including

WORK IN PROGRESS!!!

Nicola Lembo It updated January 2016