Bisius

I have Liszt's Concerto No. 1 in E-flat Major, Concerto No. 2 in A Major, and especially the wonderful Totentanz, all rearranged in versions for piano and orchestra. If you don't have them, I highly recommend them. For my part, I will definitely delve deeper: the strong touch and the majestic/delicate alternation of his compositions please me greatly. I really liked the review, and you even included the little gift; well, no one can take that 5 away from you! :)

I return to this review after a year, and I say: John Zorn doesn’t make beautiful or ugly albums, John Zorn only makes masterpieces. Always and only. But this "Kristallnacht"... has an enormous power. The initial duo ("Shtetl" and "Never Again") literally makes the hair stand up on the back of my neck. It’s a huge cry of pain, the pain of the Jews towards terrible persecution. This album helps to understand the truth, this album HURTS. Inside.

It’s really very nice. Prolific Boot this year. But I still prefer the Anatrofobia/Petrol combination: Vasco still needs to grow musically (as Canali used to say? “pallosissimo monocorde”? I partially agree with that). The lyrics, however, are truly great.

But more than post-hardcore, this seems to me a hybrid of progressive-jazz-death-sludge metal. Monstrous, because it can unite intricate free jazz passages with psychedelic aphorisms, with beautiful death growls ("Congestive Art-Failure"), and with very complicated progressive structures. Beautiful, really, the ultimate example of how extreme music is not at all for crude palates.

I don't know if your comment was sarcastic or not, Contemplation (I have no idea if Mertens ended up in the Merit Cup... or if that meant you don't like it), in any case, I really enjoyed After Virtue... which is simple and minimalistic, but is composed according to a very free and irrational flow, something that, for me, works in its favor. / I almost forgot: here you go!

Time is short and the things to say are many: I will try to be brief to please everyone a bit. After the unnecessary thanks for the transition, I say: @Alberto, I criticized Einaudi, not "Divenire," which, as you have seen and read (I hope), is an album I like. The acidic track-by-track criticism at the beginning is only from a technical point of view. For me, Einaudi, I repeat, is technically quite weak. Emotionally, however, no. @Bonny: I also prefer Allevi to Einaudi because he is one of the few who plays with the piano and manages to bring out pop pieces. Then, that he is needlessly pedantic in the long run, I think I’ve mentioned (this also answers @l kind Contemplation). I am not an expert in ambient/classical music: I have never listened to Satie. I have listened to Jarrett, and I do not like him at all. Then I listen a bit to Beethoven, Mozart, Chopin, Wagner, Liszt. Allevi, as I said. My favorite remains, in any case, Wim Mertens. You will understand, then, that I have absolutely no experience in this field and that, therefore, I prefer to hold back a little. I’m sorry you found the review somewhat incoherent but, I repeat: my criticism is directed at Einaudi as a character and as a pianist, my praise is for the music that Einaudi makes, very simple, mediocre, and straightforward (as I wrote in the review) but capable of moving me. Only Matthew Cooper - Eluvium, to be clear - has managed to do better. That said, I bid you farewell.

These are the reviews I want to read. Recommended.

I wrote this piece, thinking that none of the hypothetical commentators would be able to understand that it is not a review. Therefore, I couldn’t be more satisfied: I succeeded in my intent! :) For those looking for a “technical review,” well, Hybris wrote a very nice one a year and a half ago: go read that one to understand what Celestial is stylistically. I said what I needed and wanted to say. You didn’t manage to understand it, and that was what I anticipated. To prevent this page from causing dramatic existential crises or yet another wave of mystical crises, I will soon insert some samples. All for you and for the joy of the “technical review” :))))) / Anyway, I confirm: on the fifth floor, there are illegal Chinese stalls selling hair ties made from used condoms. All of this is undoubtedly very “Hot. Yellow. Desert. Fear.” // And now, democratically and in the name of technical reviews: here you go!

Certo! Inviami il testo che desideri tradurre e provvederò a farlo.

I thought it was going to be much worse. Instead, I actually really like some pieces. "The Unthinking Majority," "Praise The Lord And Pass The Ammutination," and "Beethoven's C***" among others. On the other hand, I really don't like "Honking Antelope" and "Lie Lie Lie." But I made the right choice buying the original: inside this album, despite some stylistic similarities, there’s a sound clarity and an instrumental richness that are truly fascinating. The hard/melodic contrast might get a bit tiring in the long run, but who cares. And then the voice, guys, the voice... how can you not get knocked out when Sergio bellows "do you believe... IN NOTHIIIIIIIIIIING?!?" For now, I’ll give it a 3.5.