cptgaio

It depends on the value you give to the term "commercial operation"; in this case, there are 21 artists who want to showcase themselves a bit, that's all. So the album can be called that, but in absolutely neutral terms. If their usual musical quality is not affected by the operation (and honestly, I don't think that's the case), I don't see what the problem is :-D

mmm, guys, I didn't say it's like Nada but that the song brought to Sanremo has something that reminds me of it. I didn't even say that I like this album (I didn't vote because I haven't listened to it, by the way) but only that I perceive that the Dolcenera in question, if she wanted to, could probably do much more. Cheers!

@Hardrock: mine isn't an allusion (especially since I don't know you) but just a general provocation. The problem that many use music solely to define themselves isn't exactly a recent thing. Changing your negative opinion about an artist just based on the positive trend set by the masses isn't all that different, don’t you think?

@Pixies: in your case, I generally understand your position, but I remember that many of these groups sing in English (and for this reason, like the same After) have been criticized by their compatriots, so it’s always a double-edged sword. You gain respect on one side and inevitably lose it on the other. Regarding the "choice of artists," I remind you that this is a commercial product (the same promotional campaign: Sanremo, XL, etc. etc.) reminds us of this (and so I wouldn't give too much weight to the statements: it’s showbiz, guys!) and therefore has a logic that needs to at least cover expenses. Thus, the Artistic Director (who I believe is Agnelli) must have made his choices in this regard. Then the criticism, if you want, we can make it on the quality of the songs or the bands. From my point of view, it is generally high quality, but for heaven’s sake, that’s just my opinion.

Stoney: put like that, it really seems that the problem "That's why something either sells a lot or it doesn't sell at all: if it sells, it's not truly independent, and if it's truly independent, it doesn't sell" is only relevant to those who consider it a capital sin to conduct a campaign like this aimed at seeking a bit of visibility, and to those who overlook the musical discourse to judge intentions. From my perspective, it’s your argument (which I can certainly understand philosophically) that feels very foreign to me: if I like something, I listen to it, regardless of whether it’s produced by Mescal, EMI, or the baker down the street. If I don’t like something, I ignore it, no matter if it’s "hard and pure." This record is a commercial operation no more and no less than a Michael Jackson record or one by Fugazi (just an example, I ask Fugazi fans not to come after me): distribution logics change, image policies change, the "ethical" approach varies, etc., but in the end, it is still a product, and if it's distributed, it’s meant to be sold. Then, regarding that money, everyone is free to do what they want with it. I will never tire of saying that behind a niche product, there is often no desire to remain niche, but just poor product management itself (of course, there are exceptions, but they are fewer than one might think). For at least 50 years, we should have gotten used to the concept of serialization of the term "art," yet I still see what I like to call the "Brondi Effect" happening. Don’t get me wrong: I fully understand your ethical "standards" and the effort to differentiate between trash and trash, but if it leads you to make no distinctions (to remain in the example) at various levels among the different audiences of Sanremo and to place them all on the same (very low) level, you make the mistake of falling into the same trap, thinking you are free in your judgments when in fact they stem from a way of thinking that is now well dogmatized: in exactly the same way that those who curate TV schedules turn "Amici" by Maria de Filippi into a religious event. The only difference is purely aesthetic, but there would be a lot to say here too, so I’ll stop to avoid boring you. Ps: obviously, I'm not contesting you or Saputello, nor am I saying that you are "slaves" of the aforementioned system (also because I don't know you and would never dare to pass judgment on that), I’m just raising the issue of the general trend of erecting too many walls between (as my "own" Umberto Eco would say) Low and High Culture, Indie and Mainstream (I agree with you on the futility of these terms, but to understand each other, we are forced to use them), etc., etc... Bye.

I believe it's the best "Interiore" I've read in a while: DeComplimenti. I have the book, but life, love, and cows have so far prevented me from opening it; I will take care of it as soon as possible.

Thank you, Gnagnera, for reassuring me about the ending; I think I will enjoy watching it more now!

@Isi: the dodecahedron is part of solid geometry but yes, it may fit, only finding the adjective is tough... I thank everyone for the warm welcome: the questions raised: @47 not to mention that just the fact of going to Sanremo entails accepting a lot of criticism, I think the After expected it. @Saputello, many of the artists involved in this collection sing in English, so I believe that the search (at least individually) for an international context is there (though I still remember that many in the audience think differently on this point, I do too in a certain way and I even write it in the review, for example see the controversies when "Ballads for little Hyenas" was released), regarding the XL discussion as I said I also have my doubts, but on the other hand, if someone goes to Sanremo it means they are also willing to put their face on that glossy magazine. As for the last sentence of your intervention, I could respond that I didn't compare the collection because it's Italian and independent, but because names like After, Zu, Teatro, etc. etc. I know them and they are good ;-) then I repeat, the operation is clearly commercial and one can get carried away with criticism there, but I don't think it's poorly done musically.
@Lewis: I believe that with your last sentence you hit the nail on the head: we are too harsh towards our compatriots.

Congratulations!