cptgaio

So in order: @Kosmo: I liked Dolcenera's song (as mentioned in the review) too, but physically she doesn’t tell me much, she definitely has grit. I thank Brusko, Algol, Jurix (dear colleague!), Siciliano, and TorreSte for their appreciation of my writing. @Vivis: yes, indeed, it’s a rather enlightening phrase. @Stoney: I’ll tell you, I wouldn’t put in all that social background: they’re just little songs and Sanremo is only an Italic rite; at most, my doubt lies in shelling out all that money to maintain it, but then it depends on how much Rai has gained in terms of returns (sponsors et similia). I think that in Italy there are far more insidious things to bamboozle people than a song festival. As for the Afterhours at Sanremo, I think your point could stand this year (with Bonolis who strongly wanted them), but then I wonder why they’ve never been called before (when they still hadn't lost many historic fans) by fossils like Baudo, la Ventura, la Carrà, etc.? @Cornell: I’m glad you’re doing well. On your point, you say the right things and I also think Agnelli is a clever one, but my "relationship" with him hadn’t deteriorated due to commercial choices (I think my tastes confirm that I give very little weight to these things) but because of the artistic quality of the last albums: which I personally find lacking. Anyway, I would wait to see what they want to do with the Sanremo piece (besides including it in that compilation I mentioned above) to fully understand the sense of the operation and judge. Thanks to everyone, even to the Trota ;-)

PS: the reference to corpses is a fond way for Azzo to remind me of the unpleasant job I have (I don’t handle corpses anyway!) which was once called Professional Nurse and now I don’t even know anymore…

So, I thank everyone again for their relevant contributions. First of all, I want to clarify that I do not think "Il Paese è Reale" is a Post-Rock piece; that phrase in the review should be understood provocatively regarding how "different" the After seemed compared to the whole circus surrounding it, especially on the first night when, for one reason or another, the song appeared truly dissonant and difficult for that stage (however, I mention in the review that it is a provocation, to the extent that I cite a group that was then not so Post-Rock, like June of '44, so the ironic tone of the issue should be clear). Regarding the point raised by Eraser in my defense ;-) I claim the completely subjective nature of it all (so much so that I thought the writing would end up in cases) and it’s obvious that, since it’s just a single piece (which, moreover, may not please people with a certain musical taste as Sfascia, Cornell, and Carlo testify), it’s early to talk about "rebirth," but I wanted to convey my emotions to you: a bit like finding a lost heirloom after many years and wanting never to lose it again. Will Agnelli disappoint me? Maybe, but for now, I enjoy living this moment. On the more "ethical" discussion (if you permit me the term, Carlo?) of the post-63 scene, I can say that, aside from highlighting the differences in mainstream weight between Caselli and Agnelli (and a rhyme slips in too), I reaffirm that a significant weight in my final evaluation will stem from a potential reissue of "I Milanesi uccidono il Sabato" with the Sanremo piece because then the publicity wouldn’t be just in terms of image (and in my opinion, if Agnelli has decided to use his image in a risky operation, remember, like that of Sanremo with the risk of losing many fans, to promote that collection of independent music that I mention in the writing, the thing is forgivable if not appreciable) but precisely to use the Sanremo effect as a hook (for whatever it's worth) and thus sadly speculative, but for now, it doesn’t seem like this will happen. Regarding the question you asked me, Carlo, about "Ballate per Piccole Iene" and the recent production, what can I say? No, I'm not sure because it’s not mathematics ;-) but personal taste, moreover supported by many other long-time fans, and here lies the eternal dilemma: when judging a band in times of creative drought, are the enraged long-time fans or the habitual detractors more objective? I always root for the former category regardless (you may have noticed that I never go into reviews of genres that I "can’t stand," out of respect for this belief). On the Sanremo discussion, which as an event is anachronistic, I can only agree, but I wouldn’t put too much social critique on it: they are just little songs, and anyway, I will never tire of reminding everyone that Italian television (like politics) is made by Italians, not by Swedes, Danes, or Bulgarians, and so the only culprits to be found for its poor quality are among the Italian targets; so, let’s not be surprised if we find Benigni doing politics (cheesy, even if opposed to the political side I detest) or Rai and Mediaset making a deal to defend themselves from the Australian (how many times have we endured anti-foreign competition “cartels” in this derelict country?) because this is the (unreal) country that, deep down, wants it (and a particular discussion from the last few days made me realize this even more). Therefore, amidst this chaos, the fact that the After try to parasitize the system a bit (you might say it’s part of it perhaps, I don’t know, my hope is that it’s not: let me believe it!) makes me smile affectionately. That's all. Thank you again to everyone!

So, as mentioned in the review, I don't like anything about their latest works, but in this piece I feel something vibrating, something that comes from the last decade. I want to believe in it; maybe I will be disappointed, but I want to try to believe that Agnelli is still capable of giving us so much.

Of course it's advertising, but not for some sanitary pads, but for a musical project that seems valid to me; one doesn't eat and live on poetry and rebellion alone ;-)

Eh, well. It came out like that. Of course, when it comes to the After, you’re never satisfied! ;-)
PS: let’s not spread that thing about the corpses, otherwise the Death Metal fans will give me a hard time...

Somewhere we have to start cutting, right? ;-)

@Doctor: Listen to "Teardrop" at the stroke of midnight on a New Year's Eve spent alone in your room (back then I lived with my parents, now it would be more accurate to say living room) full of dark thoughts about your future (without the security of a job, just recently dumped by your girlfriend, with half of your group of friends gone to community) and you'll get a rough idea in deficit ;-)

If I missed something in the discussions, feel free to let me know, okay!

So I'll respond to the various extra points that have come up (on those related to participating in Sanremo and the single, I think the review already says everything I think, so it's useless to reiterate it) in the comments: 1) Afterhours overrated? I could answer you with another question: By whom? It doesn't seem to me that they are excessively praised (and the criticisms on this page seem numerous). I had the opportunity to be twenty in the '90s, and I assure you that what they gave me, few others did; no one claims that they were musically innovative or anything like that, but what they represented for Italian rock in those years is something not many can claim to have conveyed equally. B) Afterhours poor live? They were the most passionate and emotionally engaging concerts of those years; technically they might not have been exceptional, but the grit of Iriondo or Agnelli was something many could only dream of. C) The Critics' Award at Sanremo: a farce? I believe it depends on points of view; too many people praise the critics when they are helpful to them and snub them when they are not. We should have a unified opinion, and then we could talk about it. Finally, I ask for clarification from my dear friend Cornell (how's it going, dear?): what do you mean by paraculo? Because in the sense I understand (recommended), I really can't place Agnelli in that category.