Dislocation

DeRank : 22,33 • DeAge™ : 3005 days

Voto:
Uh, what a struggle.
Voto:
From Danilo, never anything trivial.
I remember well ESP, which kept the family glued to the valve Siemens.
And I also remember A Come Andromeda, for a more prosaic reason, though...
The miniskirts and legs of Paola Pitagora, along with those of Carrà, were responsible for my very first late childhood low abdominal stirrings.
Voto:
I had grown up with voice, guitar, bass, and drums; good keyboardists, but not for everyone... Then the seventies ended, and some VegaRev showed that drum machines had made giant leaps and that you could even rent a good synth, so, who knows, we might be able to use voice and synth... Even, if possible, from a convinced drummer to an aspiring keyboardist, let's go with the sequencer so we can also shoot at the bassist...
Then it became clear to everyone that not everyone was willing to be the Suicide; many ended up being the Twins, for heaven's sake, maximum respect, always voice and keyboards, eh... and then there were them, of course, their sadomasogay look left us a bit stunned, but the records played at a thousand, a powerful and deep sequencer, sometimes like a guitar with a distortion pedal, sometimes like a sharp and shiny blade, no solos or cheap riffs... Just wait and see, we might pull it off too, in the garage.
Ah, the garage of the synthetic and minimal wave...
DAF.
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I'm sorry, but I can't access or translate content from external links. If you can provide the text you'd like translated, I'd be happy to help!
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I think I sound like a fan, but I'll give it a shot anyway...
What a great album, after the slight misstep of Quartet, the aim was once again high, essential, towards that wave shifting towards electronics and darkness, falsely/apparently dance, where a kick on four didn’t necessarily mean disco; in fact, it systematically contributed to the expression of personal anxieties and the rites of passage in everyone's life.
A square and powerful rhythmic section, thunderous, providing the foundation for the sharp and distorted guitar and the desperate voice of Midge Ure...
As for the rest, and what a rest it is, Billy Currie took care of it with his wall of keyboards, the violin, the sparkling piano.
Above all, A Friend I Call Desire, but don't underestimate the frosty automatons of White China and the rock distortions of One Small Day.
Not at the levels of Vienna and Rage In Eden, but an album, if only there were more like it.
And well done @[Conteverde].
Voto:
Wonderful tracklist.
I've seen Carmelina live two or three times, including once when she was just starting out, with a decidedly indie background, sharp and gritty like her beloved Shellac.
When I saw her a second and a third time, clutching a vintage Fender Jazz, she was already more "established," more of a lady chanteuse, but I still witnessed well-executed concerts, simple yet not easy, immediate but not obvious.
I envy you for the place where you saw her concert, damn it.
And also a bit for the arancini.
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Poverty of ideas, initiative, and results.
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Alright, come on, I'll turn off the light and close it myself...
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I absolutely love everything, but really everything that the demi-god in a wheelchair has done, but I need to take it in small to medium doses, I know.
Voto:
Well, in '92 I was working for years and Pezzali/Repetto made me feel pretty bad, even though I had seen them in concert (backing singers Paola and Chiara, for instance...).
Now, however, Pezzali as a solo artist makes me feel even worse if that's possible.
Not to mention that gundunassu Repetto who, after achieving nothing in life, is now writing books and pontificating as if he were some philosopher.
But I really like your way of "grasping" an album, describing it through personal experiences and your own bullshit.
And be careful with @[IlConte] ... he always talks about girls but is notoriously attracted to the passive side of gay sex; they call him Saponetta and if you've attended a shower-spot in a locker room, you know why.