Hank Monk

So sweet. At the right moments, I listen to it on repeat. It even looks great on the cover, well done Suzanne!

there's Riff Raff... that's enough.
For me too, the triple "Let There Be Rock," "Powerage," and "If You Want Blood" is one of their peaks.
At certain moments, I think IT is their peak.

Very, very beautiful album. At first glance, it seems much more experimental and deconstructed than it actually is. In reality, once I got used to it, I started finding it quite enjoyable and, in some ways, "singsongy." A sort of deconstructed dub that never completely abandons the song format. Liberty City, Paranoia... really beautiful. A tremendous studio work that skillfully blends tradition and avant-garde. Song and deconstruction. It's an admirable balance. Jerusalem, however, is the "Jerusalem" that the ELP also remade, inserted into their dub delirium. In short, beeautiful.

Actually beautiful in small doses.
But I have to say it has its charm, and sometimes I really enjoy it a lot.
Raw and dirty, and for that even more beautiful; they already changed quite a bit since Amanita...

Interesting Juror... I only have Marco Polo who sometimes makes me laugh and sometimes I really like (especially the one where for 5 minutes he goes "and new sailors are hoisting the sails").

What? Hart is dead? :( I didn’t know, damn... I’m so sorry.

A disc with some great songs (Bellamore, Much Ado About Nothing) and others that are definitely good (Sangue su Sangue, Stella della sera). However, I’m not a big fan of De Gregori's rock... in particular, I really find the overly emphatic "Tutto più chiaro che qui" or that one about supermarkets to be a drop in style.

Well... for something like this, the review is a bit too didactic. Zanna is THE evil. However, he is also the protagonist and, all things considered, the least hypocritical of them all. I've always wondered what this comic meant: if it's a hymn to cynicism or a condemnation of it. If Zanna's mischief had been limited to a few "pranks" (let's put it that way), I would honestly lean towards the former, but Paz makes him do things that go too far (murders, rapes, etc.) for the reader to truly believe it. Perhaps his aim is to make us ashamed of our cowardice (the very thing that, deep down, wants us to be like Zanna). The only morality I found (but Paz was too much of an artist to deliver a moral lesson) was through trying to understand who Zanna's victims were: fundamentally, they were people who wanted to be "like him" but weren't capable of it (precisely because they were too cowardly). And perhaps, then, the only morality is precisely to make us ashamed of our cowardice for wanting to be Zanardi instead of wanting to be different from him. Maybe in this light, we can also see the friendship clash between Paz and Zanna, where Paz indeed hates him, and despite getting beaten, he fights back and rejects/denies him, and only in this way is he the only character who interacts with his world without being a miserable person.

Oh my God, Pazienza...incredible. Such a gift of his. Reading Penthotal, with which he debuted at a young age, is hard to believe. He was already fully formed, complete with wonderful sketches.
He did everything, and all magnificently... from the comics on Pertini to that human piece of garbage, Zanardi. Incredible.
By the way, I was recently rereading some of his works, and I find it fantastic how he (along with the so-called generation of '77) managed to "mythologize" Bologna (for better or worse) which still has its own strong countercultural character (for better or worse) but is certainly more of a periphery now.
I really miss artists who can tell and mythologize their time and especially their places like Paz (and so many others) did...

I didn't know, but it's very beautiful. A very particular voice (I've only listened to Redbone) that I can't quite grasp how "elaborate" it is (let's put it that way). Anyway, I really like this black scene, a bit revivalistic and a bit not.