cptgaio

Ace!

So, the "Poligonale" referring to Zu comes from the fact that I was looking for an element that reminded me of a resonance with the album title "Carboniferous" (considering that the song included in the compilation seems to have emerged from the same sections) and that at the same time referenced the band's ability to range from one genre to another while still maintaining a "compact" sound. By doing this reasoning, I associated the word "Carboniferous," which, aside from being a geological period, literally means "coal-bearing," with carbon and, by extension, the idea of a beautiful rough diamond with multiple facets to be polished. I know it would have been better to cite a solid figure rather than a planar geometry element, but there was no one with a name as impactful as that beautiful word "polygon."
The (In)Reconstructible, on the other hand, associated with Mariposa, stems from the reference to the term they use to define their music, which is "componibile" (composable), and since the song in question seems to be a great example of a piece "constructed" from various musical styles that are rather heterogeneous, the idea that came to me is that it would be impossible to do the reverse process, that is, to "disassemble" it to derive something else. Immediately, the term "non ricostruibile" (non-reconstructible) came to mind, but I wanted to reduce it to a single word, so I (almost) "invented" that term. Happy? ;-)

@Hb: in fact, I read your post a couple of times... but only because of its length, not for any other reason (and I shouldn't be talking...) @Fusillo: anyway, you know how much I adore them, but the Eelst are on a slightly different level compared to many classic indie bands from our beautiful country. It's a matter of vocation: they never set out to be niche (and I don't see that as a negative thing, quite the opposite) but they have always aimed for “popularity,” and that's their great merit: managing to bring music that is, all in all, quite complex, if not to the masses, at least to very broad levels among the “people.” Or am I wrong?

In the review, I let slip a couple of typos, I apologize. However, it seems to me that all the links work... phew... @Isi: yes, from the news I have, they are theirs and regarding the adjectives, I think more than a few are quite clear: which ones upset you the most? ;-) @Nzu: well, brave... it could be worse! :-D @Franci: among the top ten albums (for me) maybe not, but it’s definitely an album with very high standards. Thanks also to Gustavo and Axel for stopping by.

Great beautiful page, what can I say? ;-) I haven't seen the movie yet but I have no doubt it is wonderful.

How has no one ever told you that you have an amazing nickname? I told you even with 4 (6 counting my 2 helpers) eyes ;-) Anyway, gentlemen, I don't want to be misunderstood: I fully understand your "ethical" objections (because fundamentally they are mine too), but mine is a position based on absolutely subjective parameters (of sympathy, let's call it that). Seeing Agnelli on the Sanremo stage reminded me of how young (and foolish) I was almost twenty years ago when I followed them around Italy and believed in the Status Quo of certain things... and that filled me with nostalgia and (I repeat) I looked at the Sanremo performance with a sympathetic feeling towards a big guy, and his quirky projects, who gave me so much in the past. In short, he was so uncomfortable on that stage that it reminded me of how "over the top" he was years ago when he performed before Ritmo Tribale, for example... him, Giorgio, and Xabi. That's all. Anyway, to respond to you: @Carlo: Patty is a parasite (in the positive sense) by definition... and Placebo have been at least until three albums ago. @Fusillo: good old Peter really took a big risk there. PS: I just posted something that will give a chance to talk a lot about the musical (and non-musical) side of the project.

Not bad.

@Don: you think I'm exaggerating? ;-)

Ace!

@HB: I thank you for the nice analysis with which I largely agree (although I think you concluded it... the post seems truncated) just to be precise, the reference to Jo44 was regarding the orchestral arrangement of the first evening, which presented quite a few dissonances; by the second performance, they had disappeared, suggesting that they were unintended. @Fusillo: my friend, the article has no musical references and raises a (heartfelt) criticism about an attitude and ethics issue (this is where I sense the ulterior motives). Regarding the rest of your argument, I can agree as well, but I'm not so sure that the majority of the involved artists (there are 19) have contracts with major labels (I'll find out and let you know) or were supported by MTV (and this is not just a hypothesis: most of these artists have never appeared on MTV) and indeed, I would say the criticism made can only be directed towards the After (and very few others), and considering the nature of the "operation," I think that even if they expected it, and being among the 19 with the "broadest shoulders," they deliberately put their face out there, taking even criticism and mockery: for Sanremo and for everything else. So it honestly seems to me that there is a desire to nitpick purely out of antipathy (I’m talking about the blogger, not you) without clarifying whether the album has been listened to or not... Regarding Elio, you know my opinion isn’t that different from yours, so it's pointless to discuss it ;-).