Reviews reporting thread

^ I don't think she should be suggested to PA for her solo work. Anyway, I've done it like this for now despite the risk that more get added. Hope not, but can deal with that then if it is an issue. https://www.progarchives.com/artist.asp?id=2846 . I don't think they all should be added, but I don't think exceptions are always a bad thing and I would not want to be really anal when it comes to it. I never liked that complete discography policy (that is M@x's call of course), but I do think that as it stands, we should at least have all of the ones that are most relevant, which is Alpes (and 2Bis as it is a kind of precursor).

Edited by Logan - December 14 2023 at 18:07

Anyway, I am removing that Fenêtre Ardente ("solo" Ribeiro, not with Alpes) album. When I wrote "Anyway, I've done it like this for now", that meant that I was editing it to correct the form for the album and add the ("solo" Ribeiro, not with Alpes) to the title as maybe a temporary thing as I was uncomfortable removing it then. Much as I dislike removing content generally, I will rep-post the review in this response as well as the track and artist listing so it doesn't just get cached or thrown into the ether.

here is the 4 star reaview from alainPP

alainPP wrote: Stress Et Strass avant-garde title about our current disarray and the gangrene of hopeless cities, unhappiness, in short a stressful air, everything is said in the title and the North African musical connotation makes me smile yellow now Roots yes title where she seeks, searches for her origins; good if she doesn't believe in God there will be no war; yes but believing in the Man who plays war and [%*!#]s God I'm not sure; well the church organ and its hymn will perhaps convince me, not sure! The Predators ouch that didn't last long... they took everything from him and even his soul got rid of it, well all that's left is the petodière; ah beautiful drum breakdown and an evolving riff, a synth to help vibrate, the most musical title and it is not its daring, ambiguous, snapping lyrics like a woodpecker that will change everything; latent final, one would say cinematic now, progressive too L'Enfant Du Soleil Couchant for the spleen-romantic-erotic ballad, for his voice that rises and capsizes you; the pads and keyboard bring the grandiloquent side; well the desired child must be held in your arms just so that we love each other! ah this voice, what orgasms you must have had listening to it Racing car or a simple banal story which can become thrash, a dead woman waiting to be [%*!#]ed, what I don't understand anymore with this intoxicating keyboard The Kite with this Japanese sound that hovers and leaves you perplexed about its meaning... yes we can remain mysterious even if it's me who sleeps with you; haunting, gloomy, emotional air; contemplative air on his voice and a cymbal and a few other notes; final which could fit into a Japan album L'Amour Frappé with this characteristic phrasing of Catherine, between another Catherine (Ringer) and a Patti US; a superb rock guitar, a sax, yes we are from 30 years ago; this evening the weather is at bay but the sax goes for its agreed jazzy-rock finale Hero Zero yes on drugs it's obvious; latent air sax and bass to bring the text to the drift of these drug addicts in search, to their ruined lives before wanting to kill that of our children, yes we definitely need a swirling synth solo to make the pill pass; the guitar starts, well we'll be able to talk about music but no it's too late plus the excruciating pain that devours them... to help us a well-barred instrumental finale which doesn't do any harm, catchy Popular Aria No. 9 yes ave maria or other, Catherine has the gift of bewitching, down here with her voice, her voice, her voice which never stops taking you up, yes at least to the 9th; the progressive symphony, a Greek air in the distance, the military drums and this flight which closes the album; oh oh ohh ohhh, oh oh oh ohhhh, yes.

Here is the line-up as edited by me before.

Studio Album, released in 1993

Songs / Tracks Listing

1. Stress et strass (4:25)
2. Racines (2:25)
3. Les prédateurs (4:20)
4. L'enfant du soleil couchant (3:05)
5. Bolide (3:14)
6. Le cerf-volant (5:25)
7. L'amour frappé (4:08)
8. Héro zéro (6:03)
9. Aria populaire n° 9 (3:00)

Total Time 36:05

Line-up / Musicians

- Catherine Ribeiro / vocals
- Francis Moze / bass guitar
- Tony Bonfils /bass guitar
- Hervé Koster / drums
- Jean-Paul Batailley / drums
- Michel Précastelli / electric piano
- Bruno Bongarçon / guitar
- Claude Mertens / guitar
- Jacky Tricoire / guitar
- Xavier Cobo / saxophone

- Michel Précastelli / arranger

And now I am happy to spray that fishy addition and watch it explode exploding-shark-style.

Edited by Logan - December 18 2023 at 12:34

^ I would not wish to risk offending an AI. All hail our robot overlords!

Hrychu wrote: http://www.progarchives.com/review.asp?id=2975965#social-comments Strange case here. The review is centered around the remaster and focuses on the technical aspect of the 2022 re-release of this Flower Kings record and its relation to the original. This is not a review of the album in a traditional PA way I guess. Should we keep this review?

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Grumpyprogfan wrote: siLLy puPPy wrote: ^ yes but as an extra AFTER reviewing the music But if the sonics are terrible the music is unlistenable and not worth reviewing. Just my thoughts.

Yeah, but in this case there are two mixes of the album. The original, which the reviewer likes, and the remix which the reviewer criticizes. But on PA, both releases are collapsed into one database entry.

What if, as some bands have done, the remastered version is now the only one that's readily available?

In regards to the reported review of The Flower Kings Unfold the Future. And I'll quote a little of it....

Buy the original, run away from the 2022 remaster! But to remove things like that aforementioned ribbon controller sound effect is just a desecration on top of the original. 2/5, would be 1/5 but the original was good.

... It is a shame that we do not have the site functionality like with RYM to review specific releases of albums and they all gets lumped into one. Sometimes those remastered and of course remixed releases can be of such variant quality and qualities from the original. If the reviewer had only known the remastered version, then I would expect that person to be reviewing the remastered version as it stands. In this case the person knows both versions and is comparing the two but ultimately rating the remaster and the review is about criticising it mostly and serves as a warning. I think it's very useful to compare the two, partially as a warning, but, if accessible, I would be more likely to review the earlier version that I liked as my focus and then go into details about the remaster. Also, starting the review with "I am reviewing [whatever] version" if one knows that there are significant differences between releases is a good idea.

Adding some guidelines on this issue to the "Reviews guidelines" topic in Site Rules and Guidelines would be a good idea. I have been reluctant to edit those, but maybe I will add a paragraph on that in the new year.

I will PM the reviewer to suggest potential edits.

I was not entirely serious. Technically we would have to qualify each rating and review with which version the reviewer is referring to. But that would make the database much more complex, and in the vast majority of cases the version of the recording which people are listening to has no impact on the rating. So I guess it will be a mess for those few albums where the artists and/or rights owners screw up.

I have no sacred cows. Anyone can dislike any album they want. But this "review", to put it in the reviewers own terms, is "as if someone took some cool twenty word review and extended it in order to get 100 words and qualify as a review".