Giona

A new studio album and another live one? Fantastic news! Great Lewis and amazing Massimo :)

Indeed... On this little disk, they actually featured some rather interesting "young fish" ;)

@Roby: I didn't understand if you wrote my name to ask me something (that I didn't catch) or if you wanted to address Hetzer... @Hetzer: Come on... with the enthusiasm you put into it, it would seem wise to entrust you with the review adaptation of the rest of Ian's chronicles and company. When is "Solar Plexus" coming out? :D

Beautiful page Super, even though I wouldn't give it 5 stars even at death's door (not even 4 stars for that matter).. Maybe it's just not my style.. I’ll avoid rating it anyway because I'm not sure I can be entirely objective.

I quote Super: Double Five! The first in memory of the amazing Ian (as well as for this splendid album) and the other regarding our "official" reviewer of Nucleus :p

Of course it matters. But not in the context in which I responded to Dreamwarrior. He defined "classic" Baboon because, rightly so, he had the opportunity to listen to it easily since it was released 20 years ago. Boris has been heavily penalized in this aspect, as it is clearly impossible (or extremely unlikely) for a work to become a "classic" relying only on 300 scarce copies of an utterly unknown demo, downloaded in some nook of a handful of old shops, whose owners might not even have known they had them. My point, however, is about the comparison between Baboon and Boris, not an absolute one.

When I say before its predecessor, I clearly do not count the 300, hard-to-find, initial copies. I am referring to the large-scale releases of Syn-Phonic ("Baboon" 1989 & "Boris" 2004). Now that I hope to have clarified some obscure points, I sincerely thank all of you who have stopped by, who appreciated it, and who might want to give this splendid artifact a listen.

It seems there is a need for clarifications here: Hymnen, Baboon did not actually come out the following year, but was RECORDED the following year. The Yezda, after Boris's failure, decided to self-produce a record in every sense, paying the expenses out of their own pockets. What emerged was "Sacred Baboon," but despite their efforts, the result was the same as the previous year. Nobody was interested (except for Dharma Records, which offered the guys a contract where the band would pay all the expenses and the record label would take a large percentage of the earnings from the sales. I wonder why the offer was declined.. :)) and the band, after years of further attempts, practically ceased to exist in '81. Seven years later (so in '89) Peter Stoller randomly found one of the 300 legendary copies of the "Boris" demo in an old shop, and after listening to it on repeat, he reported its existence to Greg Walker of Syn-Phonic, who, after managing to contact the keyboardist Phil Kimbrough, decided to publish "Sacred Baboon," as it had a more polished sound and was better suited for a market release. Responding also to DreamWarrior, Baboon is "historic" mainly because it had much more time to be known, but it was only by a twist of fate that it was released before its immense predecessor.

Despite the total length of the album (just over an hour), the episodes I appreciate the most are the shorter ones. The first time I listened to "Ignis Fatuus," I was captivated by the vocalizations of "Song" and, in contrast, by the instrumental reflectiveness of "Lines on an Autumnal Evening," until I fell head over heels in love with the sweet collaboration between voice and flute in "Till He Arrives." The review, dear Jargon, is as perfect as usual, and perhaps the choice is even more so :D

Yes, of course, I realize it wasn't an accusation.. I just wanted to point out that you addressed the wrong person :)