azzo

I went to read Alessio's little article, quoted by Ole, on predicatroce. I don't know if it's appropriate to discuss it here. But since it has been rejected by some, it seems to me, and here they make stupid jokes about the trash issue, I'll take the opportunity. Alessio clearly indicates the Camorra as the responsible party for the current situation in Campania. Besides agreeing with him, I can only note the indecency of the media that ignore this issue. It's like going back forty years, when the word mafia was forbidden on Rai. Everyone throws stones at each other, according to their own interests, and no one states what the real problem is. The matter is even more disgusting, stomach-churning, and revolting when considering the success of a book like "Gomorra." Naming names seems to lead nowhere. Let's focus on Carla and Sarko, the new electoral law, and Garlasco. But let’s not dare say the word Camorra too often. It’s not a matter of being populist, but right and left are the same exact crap, two sides of the same coin. Let them tell us clearly that we must coexist with the Camorra; otherwise, at least spare us their bullshit.

Ale, I'd give you a five too, but you've messed up a bit: "melodious" repeated three lines apart, and then two sentences that I just don't understand. What the hell do "Hardcore melodioso meso sul sentiero delle Indie" and "Godere dei frutti del mondo senza far capitare d'accontentarsi" mean? I may be a pain in the ass, but damn, so are you :-). Next time, please pay a bit more attention because you know I come to read them and it pisses me off that I can't give you a 5. P.S. Even the record isn't a 5.

I prefer the nun who licks the popsicle. Anyway, big and forward. But do you know that story about Farren who interrupted a Crimson concert? I think he was already in the Pink Fairies. P.S. I've left the ideas for the dance piece '82 in the review of the Husker. Let me know.

A' Puni, you're starting to soften... what the hell. Dear Marco '86, you can say anything in the world, even that Miss Silvani is a beautiful chick, but the two sentences quoted by Puni shine in the starless night like co-winners of the 2008 nonsense award. And we're only halfway through January. Congratulations!

@Super, you're a bit lacking in information, so I can give you these three options: "The tiller boys": Big noise from the jungle; 23 Skidoo: Coup; Virgin Prunes: Pagan Lovesong. But it could be so much more, these are just the first three that came to mind while flipping through Post Punk.@ Vellutogrigio: no polemics, let’s just say that your statements were a bit risky, in the sense that it was clear you weren't around back then. For someone like me, who grew up on The Clash and post-punk, Husker Du was a great discovery at the time, not only musically, because they represented a lot ideologically (they claimed they didn't do drugs, which turned out to be untrue, they didn't drink, they promoted self-promotion, were against the majors, etc.). And then they played great rock'n'roll that rocked but also knew how to be lyrical (Diane already is). Then, it’s a matter of luck. As I said, I live in a place where the Anarcho/punk community, for being the armpit of the world, is still very strong even after more than twenty years. Keep in mind that, I'm talking about around '83/'84, the band that used the rehearsal space after mine would often play "Diane" to warm up. In short, for those who were between fifteen and twenty at the time, Husker Du were incredibly important, as much as Nirvana, musically speaking, even though they sold only a fraction of what the latter did, or, from a "political" standpoint, Fugazi, as I mentioned in a recent review. Then they caught on even outside my hometown, and they made the front pages of all the specialized magazines, and shows in Italy were sold out (missing: -().

P.S.: thanks again for the rescue. Last night I had just come from a DJ set: next time I’ll drop “It's not funny anymore” at a hundred percent at ear-splitting volume and clear the place of assholes :-)

Super, the fuzz/experimental monotony was ironic towards Vellutogrigio. In the sense: it's great to have bands like that. I can only agree that Mould never changed his fucking guitar effect. As for Warehouse, I agree with you: I’ve always compared it to the White Album, I love Mould's tracks while a lot of Hart's Beatles-esque stuff doesn't appeal to me (try to guess whose tracks I don't like on the White:-), aside from HS, of course). The first tribal stuff that comes to mind from those years is Bow Wow Wow. Anyway, this afternoon I'll check out the post-punk of Symon Reynolds and then I’ll suggest you a few more names.

What a nice catch, so at three fifteen I put it on and wake up the neighborhood. The best part is that there are kids here like Mary, who tells me how beautiful "It's not funny anymore" is. And I can only respond, "I don't know." And Alessio. And the old folks like Vortex and Super, who came up with me listening to Husker and mortadella. I don't know where Vellutogrigio was: the Huskers never enjoyed any posthumous fame. My little anarcho/punk buddies used to overshadow them at any hour of the day, around the mid-80s. Unfortunately, more than being gay, they were junkies. And despite the fuzz/compositional monotony, they churned out masterpieces left and right. Besides Isn’t funny, Diane is too. Greetings to all.

Thank you Nick, although I have my doubts that you’re messing with me :-)

:-)! I quote Bjo: when will we get a review on Burzum? Even a nice double... Of course, the next time I come to your place with her, I'll distract you while I throw away a good amount of stuff from the balcony!