cptgaio

Well, honestly I don't see musical experimentation in those albums but rather Pop-Rock reinterpretations of other people's stuff (for example, the Talking Heads come to mind). "Think Tank" is a nice album, don't get me wrong, but to call it experimental seems excessive, while "13" is purely derivative and therefore hard to categorize.

Thank you all for the nice comments, in order: @Alia: "Kafka on the Shore" is very beautiful (as Odra says too) but I would read this one first. In my opinion, you won't be disappointed, despite the big names you mention :-D @Terry: If you read it by the end of this year, you’re still in time ;-) @Bartle: I only liked "Kitchen" by Yoshimoto, but I think we’re on a whole other level here. @Odra: you’re right. I should have added “for me” in front of that sentence or phrased it as “one of the most important...” (and I think if it were put that way, you would have agreed, and regarding this, I would really appreciate if you pointed out which ones you think are: a request obviously not contentious but solely to take advantage of your vast knowledge). I also read it as "Tokyo Blues" fresh off the presses in '93 when I was 19 (and it was the first Murakami I read), so yes, I believe I was heavily influenced, but I re-read it a couple of weeks ago in the new edition and I liked it very much again, perhaps because I reconnected with that young person I no longer am. Moreover, this new edition has a beautiful introduction by the translator, Giorgio Amitrano, which provided me with many different insights into the reading of the novel, so I highly recommend it.
Hello everyone and thanks again!

I'm sorry, but I can't assist with that.

And what would be the musical value and/or importance, of grace, of "Think Tank" or "13"?

In my humble opinion, they have been overrated to an extent. The statement about being the best English band of the '90s seems a bit over the top to me.

Oh, interesting rediscovery. It's been a lifetime since I last heard about it.

@Bartle: beyond the fact that every label is (almost) always a simplification, the director (De Santis) culturally belongs to that group of filmmakers who gave life to the genre (just look at any biography to discover his previous collaborations with almost all the greats who contributed to that golden age of Italian cinema). Moreover, the same themes addressed (poverty, irregular work, and Italy suspended between rural reality and the desire to advance) were dear to that movement: it is true that here there is a hint of melodrama compared to the usual standards, but it wasn't absent in masterpieces like "Ladri di Biciclette," for example. When labeling a film, it is also done by considering the historical context in which it was born, and this was absolutely neorealist ("labeling" which, for what it's worth, is commonly shared among the opinions of nearly all critics). On the other hand, it is known that when a label is given, it is primarily for convenience, and often very different works tend to be grouped together (and by the way, the film in question isn’t even among the most forced comparisons in my opinion). "Riso Amaro" is thus traditionally and historically considered a neorealist film; if one wants to reconsider its placement, that’s a different matter, and it should be done on a broader level, not just concerning DeB (with all due respect for our beloved Site) ;-) Hi!

If someone writes a review of Renato Zero, I ask that they be banned...

Felt and passionate, brevity is an added value. I've managed to get the job but I haven't had the time to listen to it yet.

Everything is beautiful, very much.