gasolio

Sometimes I listen to them, but they just don’t resonate with me. I think, first of all, it’s a voice problem: the singer’s voice seems excessively anonymous to me.

I completely agree on the premises, I disagree on the individual pieces, but de gustibus... long but necessary and much more focused than the previous one.

Sorry, last intervention, out of 86 comments, perhaps 5 talk about the album and in the remaining 80, 90% are just passing judgment. Congratulations.

@Gigiilbullo: unfortunately in our country (but I believe also outside it, albeit to a lesser extent) in every sector there are talented people that nobody cares about. In Italy, for a band (compared to a solo singer-songwriter or performer) it has always been more difficult to stand out while maintaining a high quality of their work. I believe that alongside the rubbish that populates the (fake) sales charts and radio programming, the Baustelle are something more and better. The major labels are at their wits' end and independent labels focus on whoever can make them some money; they've always done it, and they will increasingly continue to do so, considering that the market is at zero and drags on between covers and compilations among friends and talent shows.

The resentment that many commentators have towards Baustelle seems to me honestly exaggerated. I consider them an excellent band capable, like few others (in Italy), of combining catchy melodies, intelligent lyrics, and a captivating interpretation thanks to two voices that blend very well. I don't agree with those who say they haven't grown (or at least evolved): there are significant differences from every point of view between Sussidiario, La moda del lento, La malavita, and Amen. Here, rather, for the first time, I didn't find a clear shift but a reworking of their various souls. There is, however, it seems to me, a search for greater lightness compared to the superproduction of the previous album that dared to load the arrangements to the maximum knowing it was starting from memorable pieces like Il liberismo ha i giorni contati or Antropophagus. I find Mistici to be an intermediary album with its best moments in the first part (San Francesco, the title track, Le rane, Gli spietati, Follonica) and it collapses in 'Il sottoscritto' which I frankly find unbearable. After all, I like them, but in each of their works, I’ve found alongside memorable pieces some heavy drops in tone.

Congratulations Bisius, once again reading you was invaluable. Well, they're good at it...

It's true, there are some memorable scenes, but I found it a bit glossy, a bit too eager to pander to the audience. And then I can't stand Kostner. For me, Scarface is much better.

Beautiful. For me, "Viaggio senza vento" is superior in terms of inspiration and elegance, but perhaps 2020 contains more standout tracks. I remember purchasing the next one, "Eta Beta," full of hopes: a crazy mess? But can anyone tell me why there was that obvious drop?

I remember the scene where Volontè returns home and looking at the useless objects surrounding him (little dolls, plush toys, etc.), he compares them to the hours of work needed to buy them. It's what I've always done too, and it has led me to choose a certain kind of life. Less work, less money, no useless crap.
Great film.

Seen and liked.