casamorta

I discovered Di Donato many years ago in a magazine (which, rightly so, has miserably perished), Metal Shock. I was intrigued by the character and the fact that his lyrics were in Latin, but before the Internet, it was impossible for me to find anything by The Black in the only record store in this damn city of trendsetters. So it slipped my mind until today...to (re)discover, of course!

Your point of view is undoubtedly interesting and intelligently provocative. Beyond the fact that a Requiem is not something to be listened to while driving or perhaps played at a party (except for my... um..."parties"...), I find much more "light" in this work than one might think. Just as I find "light" in the groups you mentioned and in all the more intelligent "dark" music. Darkness for its own sake is rather uninteresting from every angle. A sickly light... a small glimmer that you cannot or do not want to reach... makes the night and the wait more intriguing. Returning to Mozart, it is indeed true that the key of D minor was not among the most used by the composer, yet he resorted to it with unusual consistency during critical moments in his life. If, in fact, the major flats of E and B are his outstretched hand toward an idea of Masonic brotherhood, D minor (already used in the famous Overture of Don Giovanni and in the final scene of the judgment) seems to be the key that expresses the fall of all hope for the Austrian composer. In this regard, I quote verbatim a passage from Augustì Francelli in the introduction to a version of this work from 1998, <(..) in any case, it is the black key of Mozart, that of bad omens, existential void, despair, and the idea of death. It is also a key with a somewhat archaizing, classical air: it is no coincidence that it appears associated with the demonic figure of the mocker created by Tirso de Molina or with a mass for the dead.> Yet, I still manage to perceive a bit of light every time...

Mad, sorry if I don't like Verdena and if I left an apparently stupid comment on your beautiful review. I confess that anyway "Balanite" (I don’t know from which album) still breaks my bones a bit on an emotional level, thinking back to those years and that unfortunate love that loved these three guys so much...

Thanking the users who contributed in the last two (new) comments, I take this opportunity to highlight a couple of, in my opinion, essential points: 1) the long-distance album, with autumn approaching, takes on an even more particular charm... finesse, guys! Pure elegance!!!! 2) To properly play the rhythmic part of "Ophelia," lower the high E string of the acoustic guitar by four tones (for the solo part instead, strum with barre from the ninth fret... it seems to me... leaving the tuning unchanged).

yes good, clap clap! stay yo yo

I forgive you for that "mentally limited," I mean... it's a bit ungainly, I wouldn't have used it! Anyway, I'm honest enough to admit that I only know the genre superficially, so the first thing that hits me is the image (and the overall imagery) even before the music. And so far, I haven't appreciated either. But I assure you that if I like an album, for some arcane reason of my unhealthy mind, I listen to it without giving a damn about the genres. So let's give this "Force Fed" a try! Do I really seem that "mentally limited" to you?

Come on! It can happen to anyone, especially when writing "passionately." Never mind... Rather, since I gather from your writing that you didn't experience the Eighties, what do you like about that decade? Or at least, musically speaking... So, what do you think of a proposal like this from Washed Out?

...with all due respect for the little girl and for the reasons (perhaps even noble ones, like, I don’t know, raising funds to help her... ugh!) that led some vultures to publish this worthless trash without dignity, I wonder if phrases like that opening line about death, or < "I miei occhi sono azzurri perchè fin da piccola hanno divorato tutto il cielo"> were all her own... Shit!