Purpulan

@ Fiquata: frankly, it seems to me that the most common term to refer to him is indeed Saro-Wiwa (where Ken is just a contraction of the first name "Kenule"). The role of an intellectual is a somewhat vaguer matter than what you express (as is his figure), since the very act of inference is subordinate to different cultural and linguistic codes. Therefore, culturally and linguistically, I find it much more logical to presume affinities with the theoretical and poetic contributions of Michelstaedter and Jahier. That these may be more difficult names (in what sense? Glottological? Etymological?) compared to Saro-Wiwa is quite debatable. Michelstaedter is the author of what is probably one of the most studied and cited theses of the twentieth century in Literature and Philosophy written in Italian; Jahier may have only been partially rediscovered in recent times, but if you take a manual on Italian Metrics that's less than 20 years old, you can be sure that there are references to some of his verses, and to a degree not less than that given to Pasolini. For the rest, "and that's no small thing," the oldest yet still evergreen: De Gustibus.

Surely we are in a bad way if we give all this weight to the lack of knowledge about Saro-Wiwa or to the petulant considerations of Saviano! We should educate ourselves a bit about Carlo Michelstaedter or Piero Jahier instead. They, at least, knew long ago that we were ontologically in a bad way ; )

Listened to calmly. It doesn’t seem so inferior to the debut, musically speaking; it may be less cohesive than "Dell'Impero delle Tenebre," but Mirai here showcases some of those "Superelastici"/killer phrases that he seemed to have exhausted back in the days of the first "Bubbleplastico" (anthological in "In Due" and "Mai dire Mai," but also the crescendo in "Majakovsij"), and Valente also proves his worth with some less "quadratic" solutions than usual.

Oops, sorry, I wrote the same thing twice (more or less), but the first comment was originally given to me for "DeErrorizzato", oh well... terror and horror!

@ GEB: if by "scopereccia" you mean something with a "grooveness blacky," then we are definitely on a different wavelength. The names and works I've recommended have a very clean and cold production, bordering on a "minimal" approach, with some "deep" digressions. It's stuff for preliminaries with flûte and bubbles (preferably "satèn"), but if we go beyond that, I'd change the background... ;)

@ GEB: "scopereccia" in what sense?! If you mean a "grooveness blacky," then we're in a whole different territory. The names I suggested share an almost "minimal" sound cleanliness with some excursions into the more abstract "deep" areas... Good for preliminaries with flûtes and bubbly (perhaps "satèn"), but no more ;)

Uhe, I'm being a bit of a know-it-all, but "Shove It" by Deftones is called "My Own Summer"! Anyway, even at this hour, I feel like recommending some more tactical stuff in the dubstep realm, like: 2562 with "Aerial," Deadbeat with "Roots & Wire," Distance with "My Demons" and "Repercussions," and Headhunter with "Nomad." Not quite on the level of "3 EPs," but probably the best genre releases in the last 2 years, previous to Shackleton!

A collection of (good) anthology taste, but, for me, also presenting all the flaws of genre compendium, namely: not exactly top-notch organicity and quite a bit of craft. When they try to approach the neo-hype "wanky," I don't find the same "focused" eclecticism in messing around with the groove of Hudson Mohawke's recent "solo," while on the "revised and corrected dub classicism" front (purged of any unnecessary embellishments), the new Shackleton has a much greater overall depth (masterpiece?!). (3.5 not stretchable).

They also remind me of the early works of Swans, albeit cleansed of the pressing misanthropy that characterized them and the industrial drift of the rhythm, of course with a background of feral howls and "Yowian" elements.

I like the right amount, and I don't find them at all convoluted. Of course, the functional parameters within which they decided to operate were well defined from the beginning, but contrary to common belief, and in light of such considerations, the only album of theirs that doesn't convince me is precisely "The Fire in Our Throat Will Beckon the Thaw," which is too "immobilist" compared to what was already expressed with "Australasia":(3.5).