GustavoTanz

I almost forgot the vote...

And to think that I, after finally listening to it, have a different opinion...it's definitely a minor album compared to the previous three (for me, the phase of masterpieces starts with "Il Ballo Di San Vito," but "Camera A Sud" comes close), but I don’t think it's forgettable at all. I found tracks that stick in my mind personally: "Il Gigante E Il Mago" (similar to the sounds of "Canzoni A Manovella"), "La Faccia Della Terra" (with the great Calexico on various instruments), "Il Paradiso Dei Calzini" (an apparently simple lullaby, but definitely effective), "Orfani Ora" (with that drumbeat providing the effect of an electric shock), the intimate "Lettere Di Soldati"... in short, it's an album that's far from being left on the shelves untouched! Although I must say that I agree with the phrase from the backwards step...

I am still looking for this album, especially considering that I got to know Zu with that bomb "Igneo"...

For this album, I don't see a track-by-track at all.

"LIBEVA BAVNABA!" If I think that it wasn't just this movie that went under the unbearable arms of censorship...

Do you believe me if I say that I never really explored this band as much as others from that era, and only now I'm rediscovering them? p.s.: But isn’t the artwork of the cover slightly reminiscent of the first one by Kula Shaker? Or is it just my impression?

It will be, Alia... I consider "99.9F" and "Solitude Standing" to be her peaks, and in certain ways among my personal masterpieces of female songwriting. As for this new project, I didn't know anything about it...

(continues...) It’s also surprising to think that even Daria Bignardi (whom I can't stand) has said something right on this topic in her blog: it’s easy to prove that the king is naked, but no one points out that the king has declared from the very beginning that he is. It’s like saying, it’s easy to be critical with someone else's back. And then there’s all the name-calling towards Saviano, calling him a “cucciolotto di Berlusconi,” a “creation of Mondadori,” and various other nonsense. I don’t see these as constructive criticisms, but rather as outright slanders of a Feltrian kind. And especially not conducive to changing things and dismantling organized crime. I apologize if I’ve slightly gone off-topic, but certain phrases I’ve read on other sites have made my blood run cold.

So... beyond the value of the work in question (which I haven't read, despite all my respect for the writer in question) and the review, I would like to point out how currently it is fashionable (no more, no less) to annoy Roberto Saviano not with the aim of constructive criticism, but just to label "Gomorra" as the most false book of all time, and Saviano himself as a phony, a puppet, a fascist (this is what those murmuring about an appearance at Casa Pound think). I don't know if it’s a coincidence that complaints from Emilio Fede arrived almost simultaneously, the recent writing by Alessandro Dal Lago (which I don’t know if I'll read) "Eroi Di Carta," the disgraceful figure of MARCO BORRIELLO (I mean... a footballer!) and the rap written by Daniele Sepe in his latest album, titled "Fessbuk - Buonanotte Al Manicomio," an album that I personally will buy to see what he has done, given my respect for Sepe as a musician and my simultaneous disdain for Sepe as a person (definitely arrogant, despite what those who think the arrogant are named Bianconi, Godano, and Agnelli might believe). Is it a form of “antisavianism” born out of necessity? Probably yes. Moreover, it’s an “antisavianism” that is at the levels of absolute idolatry... (to be continued...)