pi-airot

@Antoniodeste: are you saying there's a way to delete comments? (And to think I fell for it big time... I had already imagined a brave Martina, a misunderstood but determined young student. Now I’ll have to stuff myself with smoked chestnuts to recover from this stinging disappointment).

Can I take back my comment on the review of "Zabriskie Point" regarding sincerity?

I only heard a few notes from "Silly Woman," and I'm surprised that White didn't write his solo tracks. The initial division of Yes' solo albums doesn't sit well with me ("Olias..." isn't a perfect album, but it's extraordinarily creative and captivating).

Martina, you raise important issues, and you do so by asking yourself questions, methodically seeking motivations. The fact that this has a somewhat academic style does not bother me at all; rather, it reflects your world and is sincere in relation to your way of thinking, which I appreciate greatly. I agree with you regarding the actors and Antonioni's somewhat easy (and clever) positioning within a film, but I am decidedly less convinced about the film's communicative power. If there is one achievement that art has made in the twentieth century, it is the ability to go beyond established codes to seek a connection with the audience articulated on other levels, from the intuitive to the emotional, and in this regard, the images of Zabriskie Point have a particularly unique power, often precisely because they are not necessarily tied to a linear and coherent plot. Keep sending your reviews, please!

Oops, I repeated things that have already been written before by other commentators, but Le Orme have always captivated me...

Even the biased reviews are beautiful; there's heart in them, and you can feel it! I read the question "Aren't they keeping up with Area and PFM anymore?" and for me, the answer isn’t just "who cares," but rather I see (and feel) it the opposite way. I recently read a review of this album on allmusic.com, written by an American who finds strong connections between this album and contemporary bands, including the Flaming Lips. I had never thought of that, but he's absolutely right. Le Orme had already understood from Smogmagica that it was time for something new even in relation to prog (even if in the Los Angeles album they ended up mixing things more than anything else). "Verità Nascoste" and "Storia o Leggenda" are two albums that deserve an honorable place in the history and evolution of rock in our country (and that do not pale at all compared to contemporary foreign productions).

One thing I've never understood: why did they leave out the title track from the lineup (which is now included on the CD as a bonus)?

Someone recently wrote that ABBA were like Ricchi e Poveri... listen to this album and then we’ll talk about it again.

Wow, finally a good description of a product that intrigued me - and now I will look for it. However, I struggled to understand one thing: did Hawkwind really have an Italian guitarist????

I have only listened to some excerpts, but Stockhausen is a great. He understood how much importance spectacle has in music, and he did not give it up at all (both in terms of provocation and in terms of ideas that can leave you speechless), and in this, he was perhaps the most communicative (which is not the same thing as accessible) among contemporary composers. As for the discussion of contemporary art, I find that instrumental music has an edge: however evocative, it has always been an abstract art!