luciano

... I don't consider it a mistake to confuse Weilhem with Munich: I don't know Germany, but at least they're in the same region :-)
Let's go with Stereolab, roughly speaking, I ABSOLUTELY DO NOT ACCEPT MOUSE ON MARS: I could write for half an hour, just think that with Mouse on Mars you can't even tune a subwoofer, think about it and reply to me why...

Let's start by saying that this is the album that served as my soundtrack for the summer, with which I calibrated the peak of the ampli-cross (electronic, of course) speakers for the subwoofer in my car... It was also the only thing of mine that I let a good kid, 19 years old, DJ, whom I met in Capo Vaticano, listen to. He turned a dance hall into the best club in the area for this season, throughout the whole Tropea area. If someone went there, know that I'm referring to the DJ from "tropical dream," and we understand each other...

"Bad review!! This is one of my favorite albums, and I really hate to see it 'diminished' like this..." I quote verbatim the words you used for Portishead, and I savor the sweet, bitter, slow revenge...

Thank you. Let’s hope for the best. However, if Tom Waits collaborates, I will have to rely on all my (little) tolerance to force myself to listen to him
:-)
Hello everyone, I'm off to Tropea!!!

x Tom: thank you, you are very kind. Since the end of July, I hope to have more free time to write some more. Thanks also to Cucciolo for the proofreading work. Bye.

x Tam: you’re right, you got it, I’m indeed a fan of Massive. And even if it may seem counterintuitive to some, I particularly appreciate Robert Del Naja: what a great job he has done in connecting with the real Massive! I tried to be as analytical as possible, but you caught me out... Bye.

To everyone: forgive me "a warning" in the review with the accent and "kurt" bacharach kobain instead of burt in the reply to Giovanni. I'm starting to have doubts about the existence of the perfect man :-)

... but damn, I'm listening to "Exchange" from Mezzanine again (which already shifts quite a bit), but can you believe they sample Kurt Bacharach, and his record label is raking in the cash with the "the best of" (which will surely please Rivo) while the big guy is touring the world for 2 years? And I’m really sorry, but this isn't an attack on you; let's at least think in terms of a decade, not 50 years, if you want even a hundred, but at least 10, please. What specific weight will Robert Del Naja's work have?
GUAGLIO' 'N ME FA 'NGAZZA'
:-)
I look forward to your further thoughts, bye.

For Giovanni: with all the joints the neighbors offered me (only in Campania are they so generous), I couldn't be more relaxed than I was :-)
Sure, many had fun, but considering that 1) out of 7 people I asked, only one had listened to all their albums; 2) of that dozen with whom I waited for the artists at the exit, only one knew all their names; 3) if we organize a party and I play the songs of the old Massive, people have just as much fun, etc... the fact that you can appreciate Robert Del Naja's work doesn't take away from my analysis. By the way, I don't dislike it either, and in his place, I probably would have done the same. Gilmour collects Ferraris with Waters' works. If you haven't listened to all the Massive albums, there are only 3, I invite you to do so. You'll find not a homogeneity, but rather a richness and an alchemy that Robert dreams of at night. And considering they span over 8 years, you'll find that almost from every track springs a different current. The Prodigy wouldn't have made it without the trailblazers Massive, Portishead had open-minded producers because they were from Bristol, but think of all the DJs, DJ Shadow, Goldie, even Tricky recreated Bjork... Honestly, it might be nice, but without 100th Window, we could certainly live the same. The alchemy, Giovanni, the alchemy was missing the other night. And the Massive gave us the real alchemy of the past 10 years.

Yes, okay, it's all true. Maybe we could add something, like the fact that this is Robert Del Naja's first solo work and not the last from Massive, but you would be right: those are just details... But then why did he care so much about taking care of the entire Massive Attack machine? 100 to 1 that if it was released under the name Robert 3D Del Naja, you would start writing something like: "nice, but limited, the electronics prevail and you can feel the absence of the others, interesting, etc..." How can it be defined as beautiful if you’re not biased? Experimental, yes, but in 2 minutes I can think of no more than 3 or 4 experimental works that are truly beautiful, and certainly 100th Window is not one of them. Dear all, HOW COME IN THE MIDDLE OF THE ALBUM YOU FEEL THE URGE TO THROW MEZZANINE INTO THE PLAYER? Please listen again with a clear mind.