Hal

You know -- Odradek and Lello -- that I had the same fear as well. Keep one thing in mind: the formula is the same, but the ingredients change a bit. In fact, the interesting aspects to consider are some small contaminations, namely the opening with the sounds of Calexico and the closing of the album with the cover of Paris Texas by Cooder (the so-called final landing that should please you a bit more -- Massimof --). I believe we must acknowledge this group for not taking advantage of their success, allowing a long time to pass between their releases (five years is not a small amount), even when they could have struck while the iron was hot. Instead, they set out to travel the world, creating a truly beautiful live show (the DVD is not to be missed!) where they blended music with images (check out the photo in the link), achieving a result of great visual impact. In the meantime, they have woven important collaborations; aside from Calexico, there’s the significant one with pianist Gustavo Beytelmann, touring the globe. In short, they have embarked on a path of exploration, and the result is truly beautiful for me, and the risk of falling in love quickly as -- lemuro -- says is real, even though the taste of novelty from La revancha del tango couldn’t be there, but that was fairly predictable -- filini -- I would have been surprised by the opposite. The Aires Tango of Javier Girotto that you mentioned -- morningstar -- I know them, I have a couple of their very beautiful albums, quite different from the realm of Gotan Project. If the latter fits well with Discepolo's beautiful quote, the former sounds better with Borges. Happy Thursday :)

The arrangements are slightly different, Morgan; the magic of Faber's voice is missing. There are some new musical moments, some of which were supposed to be on the 1984 album. The comparison cannot be made: the 1984 album is infinitely beautiful, while the 2004 one is something else entirely that has its own legitimacy, as Pagani is the author of the music—nothing more, nothing less. (ps Odradek, I'm checking the mail now, bye :))

But that line towards the end (me se desfe 'nte l'unda) doesn't make you think of Dolcenera's (different) eroticism? "but Anselmo's wife is dreaming of the sea / when it clogs the crevices it retracts and rises / and the sheet swells on the hollow of the wave / and the struggle becomes slippery and deep."

There was no need to ask, yes, she read it, odradek, and even commented on it positively. The review of Grasshopper is beautiful as always. This one is a bit different and she has infused her love for the album, in my opinion. The adjective "carnal" that you use is really spot on; I might just listen to Jamìn-a again.

I read the continuation of the discussion and I don't have much to add. It's normal for there to be misunderstandings, as Odradek says, but I hope we talk about them to understand each other. You see dear lato b, just as it’s difficult for you to make fun of yourself, for me and others it’s difficult to joke about other things, like the topic we’ve discussed at length on this page. Perhaps for "also profound" reasons, "after all, we are not all the same," right? However, dismissing everything as "respectability" seems a bit unfair to me; I could even say it’s an exercise in superficiality, but I'm not so sure about that. I rather believe it highlights an inability to grasp feedback, and that’s why misunderstandings arise. I genuinely tried to see things from your perspective, but I found it neither effective, nor pleasant, nor useful (the topic of music was barely touched upon in the end). Any sense of the grotesque gets lost when you talk about "an excellent example." Finally, I hope that clarifying my thoughts further does not leave me exposed to the application of other adjectives that I do not identify with. Regards.

longing

same as wanderer

No, no, looking back at the score I gave the review, it’s too low; after all, you evoke and reinterpret the essence of this album, perhaps not going deep enough and with a closure to Italian culture that seems like a partial view of this Mediterranean record, but overall, the review isn’t bad. My judgment is excessive due to too much love for this album... sorry.

Maybe you’re not entirely wrong, Punisher, when you say that Pagani could have chosen not to remake "Creuza de ma," but there’s a big difference with Morgan's operation. Pagani was an integral part of this album; he was the author of the music and had nurtured the idea for years. In my opinion, this also gave him the right to celebrate one of the most beautiful albums of that decade, and not just in Italy.

Great job massimof, you've created a lovely atmosphere that fits very well with this album, which I personally love a lot and I would never have been able to talk about. @JohnOfPatmos I understand what you mean, but give this album another little chance, Jarrett deserves it :)) Bye