MaTaCà

Thank you for the information. Very detailed and interesting. However, I find little philological in it. You talk about the history of music, ethnomusicology, and other topics. BUT that's fine, I repeat. Let's not stretch this out. I don't like Sailor Moon. However, I'll listen to this soundtrack regardless and, above all, I've never considered Allevi a "classical" musician. I'm sorry for creating all this fuss. We could spend an entire life discussing similar topics. But there are much more important things. Au revoir.

I really like the cover of this album. I hope I won't be disappointed musically. From your review, I understood that I shouldn't expect anything exceptional... anyway, I'll look for it and listen. Cute review, but you can definitely do better. It's clear that you love music. Also, if you're a fake (in my opinion, you're not), then you deserve a blepharoplasty with a sprinkle of salt and lemon.

Great DK, great old school! Democracy has the weakness of not being linked to a qualitative discourse. In the sense that the majority doesn't necessarily choose the best option. Quite the opposite, in fact. History teaches us exactly that. Even dictatorships exploit a pseudo-democratic system because they rely on the majority's consent from the population. Of course, this is aided by the well-known means of dictatorships. I also opt for anarchy. But I'm speaking utopically, unfortunately. I quote your phrase Deep "But Men are too stupid for anarchy." Thank goodness for hardcore.

Well, Nes has partially hit the mark. In fact, in the first post I was asking this. Then my attention shifted to the use of "purely philological motivations." I'm asking you this because I don't know the application of philology in the musical field. I know it exists, albeit not for long, but I'm unaware of how it fits in. Returning to languages, Japanese is considered a tonal language. I imagine you're familiar with it, so I won't waste time explaining what it means. Anyway, Scandinavian languages might also be what you're looking for. They use a thousand suffixes and prefixes for a fairly unambiguous "semantics."

Russian, thanks to the Cyrillic alphabet, has immediacy between the grapheme and the phoneme. There are also others. I'm not sure if you are referring to syntax or to what discursive structure of languages as a term of comparison. I never mentioned English. Light years away from clarity and transparency.

I no longer want to continue. I see that you still don't understand and you keep explaining me useless things. That's fine. Anyway, know that Italian is NOT ABSOLUTELY the clearest and most transparent language in the world. Bye

Firestartah will be the hour, but I don't understand your message...

I... I didn't enjoy listening through their sites. Sorry.

Alright, then I'll try to at least listen to the soundtrack. I Promise. Then I'll vote. By the way, you haven't clarified the discomfort regarding purely philological motivations...

The review on this mess I was just about to write tonight... you beat me to it. Better that way. But too much leniency, my boy. At least a comparison between the original text and the now King of Truzzos text could have been thrown in... like:
Guarda che lo so / When you were here before
che gli occhi che hai / Couldn’t look you in the eye
non son sinceri / You’re just like an angel
sinceri mai / Your skin makes me cry
già da quando ti svegli / You float like a feather
nanana / In a beautiful world
tanto è lo stesso / I wish I was special
soffro anche spesso / You’re so fucking special
Ma sono qui / But I’m a creep
amo dirtelo / I’m a weirdo
voglio restare insieme a te / What the hell am I doing here?
ad ogni costo / I don’t belong here
Guarda che lo so / I don’t care if it hurts
che gli occhi che hai / I want to have control
non son sinceri / I want a perfect body
sinceri mai / I want a perfect soul
neanche quando ti svegli / I want you to notice
nanana / When I’m not around
tanto è lo stesso / You’re so fucking special
soffro anche spesso / I wish I was special
Ma sono qui / But I’m a creep
amo dirtelo / I’m a weirdo
voglio restare insieme a te / What the hell am I doing here?
ad ogni costo / I don’t belong here
Guarda che lo so / Whatever makes you happy
mi tradirai / Whatever you want
io ti conosco / You’re so fucking special
e lo farai senza neanche rimorso / I wish I was special
Ma sono qui / But I’m a creep
amo dirtelo / I’m a weirdo
voglio restare insieme a te / What the hell am I doing here?
ad ogni costo / I don’t belong here
ad ogni costo / I don’t belong here
The piece "she running out etc. etc." instead has become the Classic Na Na Na of Vasco.