Among the 198 best seconds that punk history can remember. more
"You're Puttin' Me On" is worth a career. more
I discovered it by chance in Dam on a rainy afternoon in mid-August, while I and a certain someone sought refuge at Foam, lost in the dark Keizersgracht. The Boss captured with his horse put me in a good mood until now, to say one out of a hundred. Violante Placido in "The American" is one of the greatest feminine miracles we've been gifted. more
Once they performed in Leningrad, there was no one there to listen to them. After two minutes, a delegation of workers arrived and started pummeling them... they ran away crying like little girls. more
The nocturnal nightmares of an insomniac, raw and sickly atmospheres that will fulfill themselves in the lucid autism of the subsequent vol. II. rating 7 more
1974, Battisti steps out of the boundaries of pop and timidly ventures into the outskirts of the vast universe of progressive. The result is a concept album full of warmth, from the first lights of the city dawn to the sunny afternoons of the Reatina countryside to the sunsets of a Brazilian beach...beautiful from the first to the last note. rating 8 more
If in 1979 Syd Barrett had recorded an album with these sounds and these lyrics to counter The Wall, we definitely would have had a better world. Strange that Harvest also had Wire in their roster, don't you think? more
Strasserotto, the mythical winger of the Azzurra, was quite good at cursing for how much he ran aimlessly, but his strong suit was the flatulence on the wing that undoubtedly irritated the opponent of the moment. more
a very intense live experience, but one that does not do justice to the emotional and sonic power that the collective is able to unleash in a live setting. more
Heterogeneous Frippian exposure. There’s Gabriel and a more acoustic Here Comes the Flood. There’s Peter Hammill in the pre/post/similar punk Disengage. There’s the elegant AOR of Daryl Hall in North Star. There’s plenty of Frippertronics mixed with soul rhythms in Exposure. There’s the crimsonian Breathless, a tightly wound instrumental with frequent metric changes, a smashing main riff in 7/4, and former Mahavishnu Walden on drums. Finally, there’s Bennett’s lesson: “It is impossible to achieve an aim without suffering.” more
A more structured work than the previous ones, it showcases greater electric sparks and some more pronounced pop veins. Immense class, great songwriting, constantly evolving lyrics. Truly beautiful. more
Unavoidable. Perhaps many will find it sad, but I consider it a necessary album, a dazzling exorcism of all human fears (death, solitude). One can fully grasp the entire repertoire of Sophia only by studying the life of Robin Proper-Sheppard. Dark, almost claustrophobic at times, but one can feel the clear need to return to living after a terrifying loss. more
Great album, lighter and more rhythmic than the previous ones. It might lose a bit of pathos, but it flows very well. more
A wonderful album. Sad, an introspective journey made of beautiful ballads and delicate touches. An unknown masterpiece to most. more
An incredible musical project, led by Robin Proper-Sheppard, former mastermind of "The God Machine", is born as a remedy for the singer's soul, still reeling from the sudden death of the bassist, which marked the end of the band. Cathartically sad, melancholic, yet very introspective, true, human. When I listen to them, I wonder how come Coldplay (overrated) finds success and they do not. more
An autumn album, filled with meaning and introspective. From a project that deserves much more visibility. more
Majestic. more
If you disgust them, you can only die. more
A precious album. One of the best releases of 2011. more
In Italy, some masterpieces have also been created. This is one of them. more