Purpulan

Damn... Supersoul, the movie is speculative in the most crude sense... but you also approach the issue in a (q)uestionably too (q)uadratic way... um, freakishly??! Let's say the film is largely dispensable... a kind of cinematic adaptation of a modern coming-of-age novel (but too cloyingly modern to be even "simply" postmodern). ... Just one!

@ Azzo: this way you’re no longer on edge... "Pota" what a coincidence, it's actually the trio from around Berghem...

I'll let them go a little sour, Alessio. Guess which Italian band "that you really like ; )" supported them on a handful of dates during the European tour last spring??!...

No, no, no, damn! It grabs me, it's a pleasure, it doesn't have the conceptual depth of "Catch 33," okay, BUT they push forward anyway, there's a bit of a summary of past discussions, BUT they've never made such a varied album, they might lack the ultra-studied phrasing of the latest productions, BUT the song form is heavily justified, here they move from reference to reference, while maintaining their own peculiarities: Kidman's vocalizations persist in the same register while instrumentally, they shift from EBM-like insistences to "clear math" variations à la Don Caballero... on the production, nothing to say, it lacks the consistency of the ultra-low tones of the 8 strings, but it's Tomas Haake who takes the lead (see "Bleed" where everyone follows him, only to fill the gaps later, while the subsequent "Lethargica" is a chiaroscuro masterpiece of fullness and emptiness)... fear, fear: Meshuggah have made an album that REALLY needs to be evaluated track by track (it was in its own way also "Chaosphere," but there's no comparison when it comes to mastery and awareness of the expressive range)!

Oooooooooooooooh! God relieve him and keep him among the heavenly trumpets, far away from human ear pavilions!!! The most useless concert I have ever attended featured exactly this disheveled one as the false protagonist. About four months ago, at the Palacongressi in Lido di Jesolo. I left with preconceived notions and returned even more chilled, as well as bored. 40 minutes with the string section of the Berlin Philharmonic playing his scores with musty sounds from 200 years ago. He then lightly taps the piano for barely 50 minutes with a demeanor far too little majestic to be "classical," too casually "logical-analytical-conceptual" to be contemporary, and absolutely poorly "tempered-coloristic" to be jazz. He even does his "encores," too bad they were all pieces previously performed. The only saving grace: I didn’t spend a dime on the nearly two hours of drudgery (and they were forty euros expected for a seat in the front row!); the only pleasure: enjoying the pretentious hairdos pretending to be interested and flaunting supposed music expertise. He truly parallels the most mannered musical Jovanottis of the Bel Paese! Avoid, people, avoid!

Wow, I'm going to download it!!! However, I must say that I love "Catch 33" and "I" precisely because they are probably the most experimental and cohesive works of the combo (even "Catch 33" is basically a single suite in multiple movements with plenty of theme and counter-theme interweaving, and sudden breaks, following an almost "symphonic" style). Looking at the track list of "ObZen," it seems they've returned to a more recognizable "song form"... which might partly disappoint me... Did no one mention Tomas Haake??! The concepts of their albums are practically all his (and I'm not just referring to the lyrics, but also to the "deep structure" of the works).

Um... I am, of course, biased...(a certain Queneau??!!!).............try reading the novel and you'll probably be able to put many considerations into perspective... I'm not at all a detractor of philological didacticism in the audiovisual transposition of a literary work (which, in any case, becomes "something else"), and I hate simplifications regarding the written work/film version relationship... but Queneau can only be reinterpreted a priori, forcing you to consider polysemous choices practically in every single narrative sentence. However, the film has aged (probably precisely because of the avant-garde cut that ultimately feels "pro illo tempore"), the novel has not! A 3.5 for the courage and the rendering of the paradoxical comic force demonstrated by Malle.

Well, at least it seems to me that here, regarding "Crossroads of Death" (what a shitty title), it's not the "hats" that are in charge. ; )

I hate having to wink at many (semi-serious) Debaser proposals, considering the impact of the Isis... of course, I couldn't care less about niche judgments, they're in constant growth and "In The Absence Of Truth" is yet another step forward... I leave to others the pleasure of gushing over UFOmammut: local? Yes! Predictable??! Beyond any words...!!!

Uh, I thought I would intentionally "misgrammar" the reviews; this one is a bit too........PERFECT, the best I've read in this snippet of the year, and it fits perfectly with the "frascicone" style of Boris (even though I haven't listened to the aforementioned album)...PiSsssi.: the comparison "productivity/urination" is pure anthological...