telespallabob

The 66cl Moretti is coprophagia! Drink the Menabrea!

Referring to Arcade Fire doesn’t seem like a good thing to me, maybe it’s just an impression. I don’t know.

When I read it (and I’m fortunate that in the library where I work, hardly anyone asks for it), I always find small things, nuances, and feelings that I hadn’t caught, and they catch me off guard. Currently, between one exam and another, I’m reading a book by Julien Green, and I immediately feel the same unease that I experience when reading Carver. How wonderful it is to read something that affects your skin and your certainties, since it has the power to keep you tied to life.

A very good movie, quite simple. I refrain from commenting on Natalie Portman: I’m biased.

Honestly, certain discussions about genders-not genders annoy me a little. What I know, from the little I've gotten to know you, I am convinced you share, and now I try to give it value. To associate it with moments (in the vast majority of cases, it’s either women or they are intoxicated) and to cleanse our thoughts. Perhaps it’s that many things have probably happened to us and music had a value for us that we now need to redefine. With respect and esteem, your Telespalla.

I rarely show myself and I've missed out on many things, especially yours. I'm really happy to read you like this.

Allow me a Pozzettiano "oh my goodness!". I admire you for the thorough overview, but it’s a bit too much for me; still, you’re really good.

At this point, it's fair to ask: are you from Brescia? And limiting Charlie to just funny and silly songs ("Va Gina" and "Mandolossa" how many times at his concerts) would be doing him a disservice; he is an excellent guitarist and lived and played in England when he was younger. Moreover, he promotes the Brescia dialect, trying to evoke songs and sounds from the Brescia folk culture. Currently, he is touring the small theaters of the province with an orchestra, go Charlie!

"only that in Minneapolis it was magnified by the enormity of what was the hardcore punk scene of that time, of which the Italian scene is just a faded copy, often fanatical and even less spontaneous, in poor taste," the only possible response to "That they didn't put passion into it and that they weren't sincere is what you say, not me." How can one reply? In any case, the Kina and that whole scene existed many years before this record, just to point that out. Would they have bothered to set up independent labels anyway? Yes, because it wasn't done as an imitation of the Crass but for coherence, to make music as they pleased. Against copyright and against certain ways of making music in Italy. It's a way to be part of it, regardless of how they played. Not surprisingly, the individual characters have never stopped playing; they have evolved while remaining consistent with their understanding of music.

@Repartoamena, you said it’s a rare gem. In fact, I didn’t contest that point; I contested something else entirely because you can't write that that scene is “often fanatical and also a bit unspontaneous, in poor taste.” That’s not true! Honestly, I couldn't tell you which scene you're attributing to Kina, but discussing it while leaving out the Blu Bus and that path of self-production means creating partial memories. I wonder how something like this can be "in poor taste." "One could also avoid bringing them up," but the reviewer brought them up and takes responsibility for what he says (by the way, since you criticize him for mentioning them, why give a 4 to the review?). Moreover, I disagree because it always falls back into that discussion of "It's derivative," which we keep using to dismiss our local albums without then stating clearly, “we like it because…”