cptgaio

I was referring to Michoos' comment.

Well, it's a little jazz piece with a pop refrain: it's borrowed a bit from everywhere ;-) but what isn't in the mainstream? At least the references are cultured this time (and she's also good as a singer). I would forgive her.

So: I liked it, but having grown up with Bonolis and not watching much television for the past 15 years, I might not be TV objective. I find Aldo Grasso's definition correct, which is that Sanremo is no longer a song contest but a gigantic variety show held annually. From this point of view, Bonolis fully understood it (and in doing so, I've also given you an explanation about Spacey, but also about Cassel). Regarding the competition, I think it's wrong (due to the inability to control double or triple votes) to use the popular vote (and indeed, the three final songs were probably among the worst). Personally, I liked the song that won among the young "Sincerità," and my ranking among the Big would have been: Third Tricarico, Second Dolcenera, First Afterhours. I give it a 3 because in an event like this, it's hard not to have low points, but this time, the high points have balanced it out. The review is very professional, well done.

Acerbi.

Certo, invia pure il testo e procederò con la traduzione.

Well, more than Trip-Hop, here we are more in ElectroPop territory (whatever definitions are worth) even if they inevitably ended up in the "fashionable" melting pot (thankfully). The album, 11 years later, has lost a little something, but memories are memories. 1998 was my annus terribilis, and on the last day of that year, I stayed home alone listening to music because I didn't feel like celebrating. I remember listening to this, "Mezzanine" by Massive Attack, and "From the Choirgirl Hotel" by Amos: all released that year. At midnight, while the celebrations were going wild outside, I turned off the player, cried, and went to bed. The next day, things started to get better.

Well, you could have chosen the samples better: because the ones you picked are undeniably Epic Metal, there's no arguing about that, and "out of place" would be insisting otherwise. Now, if the rest of the album shifts style, that's another story, but the opinions were based on the samples you posted: which should give a little extra insight into the sound, in addition to what is written in a review, but in this case, the two (review-sample) contradict each other. Where is the truth?

Appealing proposal.

@Don: Zola is performing a half-miracle within a chaotic corporate-technical environment that the Hammers haven't experienced in at least a decade. (Corporate, even though we've been relegated during this time, but finding oneself in December looking for a sponsor for the shirts has never happened before, and technical because we're paying for the exorbitant management costs but not the quality of Curbishley). That said, the 33 points and the eighth place in the standings feel like a Herculean effort given how they have developed. It’s a bit early to say whether Zola will have a future as a coach because right now he is working more on nerves and pride than on the technical side, but it is still a good sign.

Two issues: A) I don't know if this group is "psychobilly" (whatever that term means) or Punk or etc. etc. The fact remains that from the samples you're sending, the most fitting definition seems to be Epic Metal (more Helloween than Maiden, though; I have vague memories of the latter's galloping). B) You're spending a hell of a lot of time trashing Metal (with a capital "M"), and now you give four stars to this derivative little band? Tastes are tastes, but let me tell you that this raises serious doubts about your impartiality as a reviewer.