cptgaio

Ps: just read it all... you might change your mind ;-)

I assure you that on Saturday I worked (and anyway the After didn't perform on Saturday... they were already eliminated). As for the user you mentioned, I think the issue is solely theirs, and I won’t say more to avoid giving rise to anything. I'm sorry that you didn't like the review.

So, a big thank you to all the commentators, there’s a lot to unpack here and I’m reserving some time to respond to everything (not too much, so don’t worry...). There are many comments that, to be honest, leave me puzzled, but that’s normal given the topic. I must say, however, that I appreciated the fact that everyone who voted for the piece (whether positively or negatively) mentioned that they listened to it, which is a positive thing given the circumstances.
I’ll respond right away to the last comment from Boredom because it is, indeed, the most "heated" and raises an interesting question: you're right, the structure of the piece isn’t post-rock, but I did state in the review that many terms were used provocatively. However, I have to say that that definition popped into my mind because after the first listen (with the orchestral arrangement) at Sanremo (and indeed I use the term post-rock in the mentioned email written just a few hours after that performance), certain dissonances and a particular type of dodecaphonic arrangement reminded me of things from the '90s, hence the confusion. One last thing, I don’t believe that the period of impasse (at least in my opinion it was an impasse) was due to the (although serious) absence of Iriondo, but rather a very specific artistic choice by Agnelli, who has always been the creative mind; I think little would have changed with or without Xa. See you soon.

@Sfascia: and I appreciated his honest and straightforward point of view; it's obvious that mine is a subjective opinion, I didn't think it was necessary to point it out again, that's all :-D

@47: Well, first of all, I must say that you are too young for Patty Pravo (you deserve more and better) ;-)
Then what I think is a bit like what I write in the "review," which is that my relationship with them is so subjective that I struggle to be objective: both for the good (the first three albums) and for the (to me) bad, which is their career in the "00s." My relationship with them is all exaggerated because they were my group during my teenage years, and this writing was meant to be a tribute to them since in these pages, for various reasons (on the first albums because they were widely reviewed and on the rest because I didn’t want to speak badly of them out of respect), I hadn’t dedicated anything. Now I had the opportunity since I liked the piece and it hadn’t been reviewed yet (I actually waited a few days, hoping someone else would take it on, then I decided to go for it). One aspect I would not underestimate is, as mentioned in the "review," the promotion of the collection of independent Italian music that will be sold symbolically for 10 euros and will feature names like Zu, Marco Parente, Teatro degli Orrori, etc. etc.

Maybe. Have you read the premises? ;-)

I was talking to Sfascia, with the other user I have a promise (which should be mutual) of non-interaction, so I'm not responding.

I don't agree with you: this is a great piece compared to their career (from every point of view: both expressive and ethical), and at this year's Sanremo there were at least 4 other high-level songs, which for an event like this is a good average.

Popopo, it's the third comment with the same tone and "content", was it really necessary?

Yes, make a proper analysis of Baricco's style. I must say, however, that in other books of his, like "Oceano Mare," he has managed not to be banal and to pair an interesting story (and psychological developments) with this very particular way of writing.