cptgaio

So as promised: Point 1: you are right, I used the wrong term; I should have used "thought" instead of "built" in the sense that, but it's my feeling, so much inadequacy (the kind that comes through in his texts) seems more like a result of "literary" devices rather than a true state of mind. Point 2: the phrase I quoted should also be taken as a provocation, but it's true that his way of expressing himself consists of absolute phrases sung (shouted more than anything, with very few variations: it feels like hearing the same piece over and over) one after the other like so many declamations, and this irritates me a little. Bye.

I love him to madness. "Anesthetize" is wonderful.

Damn, my friend, I'll get back to you tonight... now I have to go to work... Bye ;-)

@Eletto. no problem ;-) @Kosmo: to whom are you talking... I also thank Mannequin for stopping by!

@Don: on the "Tool" discussion, your reasoning makes complete sense, but these are indeed connections that are not very musical but rather related to "Costume" (a term I want to emphasize I do not use in a derogatory sense, quite the opposite), and so we could talk for hours without getting anywhere, given that we have different approaches. ;-) Regarding "Afterhours," I can tell you that if we start talking about everyone who influenced our "heroes," we would end up discovering that we are all "brothers"! It's the evolutions taken from a spark that change things from this to that, not the spark itself: that Agnelli admired Cobain is undeniable (but even if you think otherwise, it's no problem for me as I admire him too; I just contest the musical importance given to Nirvana). However, it’s not like Agnelli only drew from Grunge (which then drew heavily from the bands we've both already mentioned). I think the influence of dEUS (far too underrated) on the Afterhours is much more remarkable, for example (and let's not even talk about Springsteen's influence). Moreover, I liked the Afterhours for reasons that went beyond the music itself, but also related to the lyrics and the band's attitude towards fans and on stage. That's all. PS: still for Super, allow me, but comparing Amos to "radical-chic salons" is at least risky. Bye.

In short, and then I'll respond to Don in the next comment: the cover by Amos was released in '92 on a single "Crucify," which has always been something for collectors and fans of the Rossa and was played at some live performances: just to give an idea of the historical context and to avoid thinking that Amos intended to ride whatever it was... '92, not '94 or '95 or 2000 etc. etc... '92, Single (B-Side: not album, not disc, already published almost a year ago and had already sold well, 500,000 copies, without the need for the single "Crucify," the first indeed was "Silent all these Years"), Concerts (which are presumed to be attended by enthusiasts and/or fans)... for the rest, I think anyone with a bit of critical sense would quickly realize that associating a horror like Guantanamo with an artist like Amos (known for her social commitment, see R.A.I.N.N. for example and her pacifist positions) just because a cover of a Nirvana song, certainly used without her knowledge, was played there is quite a futile operation: however, if it helps the user who wrote this (I love you too) to assert themselves, I certainly won’t try to change their mind. @Super: you're right, in fact it belongs to another kind of "culture" that willingly or unwillingly has survived (in numbers and "ideals": a rough word to associate with a musical phenomenon but used for understanding), just as the one you represent. A "culture" that, of course, is not represented only by Amos, but is transversal to artistic phenomena (an artist could easily be an "icon" of both). Then if you don’t like that cover, I don't see what the problem is: the fact that it is still discussed now (to be honest, in general, it’s talked about more positively than negatively usually, and DeB is an exception in this case) means that it must have left some impact. To be clear, it's not a matter of musical tastes regarding the "cultural" difference I'm talking about, but it refers to the famous "Rollins" discussion, and I don’t think it’s worth revisiting that, right? ;-) With respect.

Ah, as for the little game of the best singer-songwriter album of the "00s" suggested by my friend Azzo, I might be an out-of-touch fool, but I vote for "Amore nel Pomeriggio" proposed by De Gregori almost at dawn (2001) of this decade. PPS: in the first review dedicated to Brondi on DeB, the average ratings were well above 4, okay it was an EP and not this one, but you get the point...

This record was reviewed in August 2008, receiving 24 valid votes with an average of 3.79: now, here, with 16 we are at 2.81 and it seems difficult (statistically) for it to grow much more. Last January, a review appeared about a live performance by the (one man) band in question, and I left a comment there too, seeing in that case also a significant and "strangely" swift drop in the average, which I think is worth repeating after the initial consideration: "Mmm... without taking anything away from those who criticize it in the comments, I’m increasingly convinced that the average DeB user is not reliable for this type of artist: what I mean is that as long as he was a complete unknown, the average was always between 4 and 5, but now that his name is starting to circulate among the masses (through magazines and other means), the average is plummeting. Are you sure you’re not being influenced in the opposite direction by the media? No polemic, obviously, just pure curiosity."
As far as I’m concerned, I only listened carefully to the debut EP (self-titled if I’m not mistaken) and I didn’t like it; with that bad memory, I only skimmed this one superficiality, immediately setting it aside because it seemed too much like the debut. I've already mentioned that my impression of Brondi here is that of a lad who knows exactly which strings to pull to stir up "nostalgic" feelings, and he seems vaguely "constructed." However, the comment that seems most closely aligned with what I think I found in a friend's blog some time ago from a user, which I adopt: “I don’t understand anything, I get distracted like during a sermon in church. I can’t even quite distinguish when one song ends and the other begins. Sometimes a more pithy line than the others wakes me up, but I have the feeling that they’re all pithy lines, hundreds of pithy verses, a kind of contradiction in terms in my opinion, but the girls disagree with me. Anyway, to summarize, what is it about? It seems like he went out to get cigarettes but the dispensers didn’t work, so he tried a little further, but they didn’t work there either, and then even further, and so on forever, the ghost of the flying person from Ferrara driving around in a car complaining when all he would need is a functioning dispenser to calm him.”

. ;-)

Only 2: no contract, but would you mind if I don't add anything else in order to respect them?