pi-airot

Listening to it multiple times, I really don't know what to think. His arrangements for strings are truly beautiful, "History of Touches" is frame-worthy, but there's something that doesn't sit well with me (including Antony's voice, for which I've always had a personal idiosyncrasy). And I don't like the lyrics (mostly, I think of poor Matthew Barney: they break up and she gives him a load of this magnitude... it almost makes me want to take his - his - side). And I even made a mistake in voting: the stars go to the review.

I liked the film, and frankly, I don't feel like questioning whether it's a masterpiece or not. Sure, after the show, there are some details that don't add up for me, but it kept me glued to my seat without tiring me (even though my tailbone and lower back were protesting quite a bit), and it took me through a considerable spectrum of emotions (from desolation to sadness, from wonder to vertigo). I would definitely have preferred a different ending. As for Nolan, he must also be a first-class cunning fox, passing the film off as the new 2001... and then thoroughly studying "The Wild Blue Yonder" by Werner Herzog (but for me, that's quite a significant plus). I really loved the soundtrack, especially the theme that plays during the rocket's launch from Earth. One curiosity: the name Hans Zimmer sparked a light bulb for me, a quick Google search and... I discover that he was a member of KRISMA!!!!!!

What does that disdain for Phil Manzanera "who comes from More than this" mean to me? The gentleman in question has a career you would do well to revisit.

These two have been endlessly rewriting this work of monumental ignorance for years, continuously updating it. I already dislike the fact that an encyclopedic work has only two authors: they should merely serve as coordinators and be surrounded by a host of collaborators, each an expert in their small field, as is the case with more serious encyclopedic works; instead, they insist on being omniscient. I remember an edition from a few years ago: there was no trace of Uriah Heep, no mention of Tangerine Dream, there were the albums of Jon and Vangelis but no Vangelis (!!!), ABBA referred to as a shameful interlude in pop music, Tori Amos rated five stars and Kate Bush at most four. It loomed in the music section of the city library, and as I flipped through it, it drove me to infinite annoyance, yet it had on me the effect of a "plucked cat": no matter how terrible it is, you can’t take your eyes off it...

But at least are the Moody Blues on the soundtrack?

A nice review (I would have given it 4 stars, but I don't know how many will show up; I'm a bit clumsy with my fingers on my phone). However, it does give in a bit to certain myths, like the idea that Italian prog broke through abroad – true in part for PFM, but for the others, there were mostly just some contracts with international labels. The album was a pleasant surprise, managing to achieve a certain success without the slightest media support. However, it also marks a formula from which a band that was always open to twists and renewals in the past has not been able to extricate itself anymore.

Speaking of cultural connections: there is much talk about Metal, but the first to develop a crush on Lovecraft were the psychedelic freaks of the "Summer of Love" in San Francisco. As Fernanda Pivano recounted, during their sit-ins they recited his poems (which are usually rather unapproachable, except for the beautiful cycle Fungi from Yuggoth).

A nice analysis.

She looked at me warily when I tried to defend her, but if we’re talking about regional accents: find me an Italian singer with a "neutral" diction.

I don't understand why cheap wine has to be from Veneto.