Ghemison

I saw this and The Mysteries of Twin Peaks very close to each other, and I have a memory that blends them together... anyway, I liked them, perhaps this one a bit more because of the visual and aesthetic ideas.

disc only unfortunately...

Of Avati, I only know the thriller/horror side, and I must say that the latest one, Il Nascondiglio, isn't too bad either. However, his Magnificat is undoubtedly a masterpiece; with a film like that, one can make nonsense for the rest of their life and I will still support them (plus, he also directed La Finestra... so Pupi has all my respect).

Antonioni's film is ugly and also poorly acted, but if I remember correctly, you can see some breasts. I didn't mind Soderbergh's; I found it ironic and well-directed (the play of light and shadows in the room was beautiful). On the other hand, Wong Kar-Wai's seemed a bit boring to me; unlike you, I found it on the same qualitative level as the others (but perhaps that's a prejudice; his films tend to bore me despite the ideas and style). In short, a bad triptych, really a shame. I give it a 2 because I just woke up and feel like being lenient.

Okay, nice record. But was there really a need for the seventeenth review? Think about it people, think...

Great review, but it was already done (I did it)... a very good and promising release from the guy. For me, it ranks on the podium below Kode9's debut and the latest Boxcutter, but that's a biased opinion because I still need to go through the Burial catalog.

So, Sharunas, it seems that you've taken a review a bit too seriously that was actually quite playful. I'll try to respond point by point, but don't trust me too much. 1) and 2) I'm totally on board with your point about big words; I've used them myself many times, and I still do, but in this case, I wanted to be concise and direct, to reach and impact even those who are not used to reading or listening to this music (and therefore don't know what it's about). You’re right about the abstract concepts; mine is a deliberately pleonastic expression, but it's used as a formulaic expression to emphasize that this review is not even a critical analysis but just a quick note about an album that moved me deeply and that otherwise I wouldn't have been able to fully examine. 3) You’re right, I was very quick and hasty: I didn’t want to explain why I like this album, but not out of recklessness or anything. No, it's precisely because I love this album deeply; I can't even explain it. I just know that I get emotional and inexplicably energized when I listen to it. If you happen to read any of my other reviews, you’ll see that I often try to explain why I like an album. This time, I just wanted to involve you in my enthusiasm and point out the album to engage you. By the way, if you want an adjective for this album, I wouldn't say it's "cool" or "beautiful," just IMMENSE or DIVINE. 4) I don't really want to express myself on the subject of innovation or originality right now because I'm a bit tired. I’ll just tell you that in this case the discussion was only regarding minimal, and many people are rightly complaining that this genre has somewhat fossilized over time into quite canonical trends. So, it was a precaution in case someone brought up these objections. Then there’s also the fact that this is incredibly avant-garde and is certainly one of the peaks of the genre, in addition to being practically the starting point (and I also liked using the expression to create an internal symmetry within those two paragraphs). I hope I've been thorough, and don't hesitate to let me know if I'm not; it's always pleasant to have serious discussions. I thank everyone else and encourage you all to listen to the album (big shoutout to Babaz, the only one who voted for it). I warmly greet Cpt and Alessio and I'm going to relax and smoke a joint. @Odra: don't worry my friend, I had already thought about it. Have a little patience, and you'll find this album in "the living room" very soon.

no no, young people. just to clarify, I was talking about the visibility of electronics in Italy, not about the people who produce it. for the rest, I mostly agree.

@Kosmo: the good William S. is not new to this... in fact, he has written reviews on truly interesting records (for me, it takes a lot of courage and expertise to write about an album like Oinko by Mika Vainio).

Nice review, but it's a shame about the premise. In Italy, we're not doing that badly: people come to play in different places (for example... on December 29th, Carl Craig will be around Treviso, while on the 31st, in Rome, there are Hawtin-Holden-Villalobos and many others), records can be found (for instance, in Bologna, Il Disco D'Oro has two or three of the same Bola), and artists are known (if you search online, you can find my review of Bola's latest work, and there's one here on Fyuti, too). Aside from that, you really describe this type of music well. I haven't listened to the album, but from how you talk about it, it seems to be more varied than Kroungrine.