casamorta

Gasta, between one thing and another, I totally missed the last one (which, by the way, I had announced here)! Poor me, but if I can still recommend one at random from their earlier discography, I'll go with "The Illusion Of Motion." I like all of them, but maybe this is the one that would come closest to your tastes. P.S. I'm about to reply to your message from yesterday.

The insult I remember: a friend from Udine and my cousin, a true Triestine, had been fiercely arguing for three hours about everything (soccer, women, politics, hard liquor, ...) and the discussion abruptly ended when my cousin addressed the rival with the term "MANGIAFRICO." At that time, I was unaware of the meaning of such an obscure and powerful term, so much so that it made the Udine friend leave, head down and tail between his legs...

I really liked your review precisely because it is simple and straightforward. I had some initial difficulties with the book (I tried to read it in middle school and understood nothing! just imagine...) but I fully overcame that in the readings I had in the following years. An artwork (or a?) so emblematic and dramatic, yet, alas, underrated in its homeland. We deserve De Carlo, Baricco, and Tamaro. F*** it…

My absolute favorite along with the next one, "Revolver." A good review (at this point, I would love to read your take on "Revolver," if you have the time and inclination to write it) but I simply cannot forgive you for that <everything else doesn't matter much>; )

..MY FAULT...what a monumental oversight!! Yesterday I decided to give this album another try, to finally listen to it alone, in my room, in complete tranquility, as I had not yet managed to do. (The two previous listens had been at a friend's house (from the computer, by the way...) and in the car on my way to work...) to make a long story short: my blood ran cold!! In the end, I was with tears in my eyes and completely dazed..."the katatonia effect" had struck again! For now, all I can say is that calling this work "FORWARD" is truly reductive! Great Katatonia, I love you!! (P.S. I will post the same comment on the other DeReviews of Night Is The New Day)

Hell Hell Hell...MEA CULPA...what a glaring oversight!! Yesterday I decided to give this album another go, to finally listen to it on my own, in my room, in complete tranquility, as I hadn't managed to do before. (The previous two listens were at a friend's house (from the PC, by the way...) and in the car on my way to work...) to keep it short: my blood turned to ice!! In the end, I was with tears in my eyes and completely stunned..."the katatonia effect" struck again! For now, I can only understand this, that calling this work "AVANTI" is truly an understatement! Great Katatonia, I love you!! (P.S. I will post the same comment on the other DeRecensions of Night Is The New Day as well)

MEA CULPA... what a colossal oversight!! Yesterday I decided to give this album another try, to finally listen to it alone, in my room, in complete tranquility, something I hadn’t managed to do yet. (The previous two listens were at a friend’s house (through his PC, by the way...) and in the car on my way to work...) to make a long story short: my blood ran cold!! In the end, I was left with tears in my eyes and completely stunned... "the katatonia effect" struck again! For now, all I can say is that calling this work "AVANTI" is truly reductive! Great Katatonia, I love you!! (P.S. I will post the same comment on the other DeReviews of Night Is The New Day)

ah?

Mmmhh, dear Jurix, I don’t know... To me, this painting instead recalls some examples of Flemish painting from the 15th century. Let me explain, in the end, the two types of societies—the puritanical America of the Midwest and the flamboyant Holland of merchants and bankers—despite appearing to be worlds apart (not only from a spatial/temporal perspective), have much in common: especially the strict logic of merit and profit. This painting, like the genre works of the Flemish, fixes precise references to a social order that is intended to be immutable. The piece is much richer in details than it may quickly seem. The cameo at the neck of the female figure, the embroidery of her dress so similar to that of the curtains in the bifora behind her. Furthermore, the symbolism of the pitchfork repeated in the exacerbation of the number "3" (religious meaning); or the dramatic tension of the absent true God, if you interpret the unfinished gable atop the house as an unpainted cross. I don’t know... this is how I see it...

...and why not the beautiful 1995 film, directed by and starring Alessandro Benvenuti, "Ivo il tardivo"?