sylvian1982

But "more more more" was that song that was going around with the Daniel Santacruz Ensamble and the Guardian of the Lighthouse in Lellio Luttazzi's Hit Parade? Damn, they were so trash!!!

I have this album. It's not bad. It matches your review. Well done. Cry To Be Found, which is the opening track, I don’t find it bland at all.

"Without You" in Harry Nilsson's version I had on a 45 RPM record. It was a gift from an uncle of mine who managed jukeboxes. I wonder where it ended up (the record, I mean!). I think it was Nilsson's biggest hit, second only to "Everybody's Talkin'," which was also borrowed, this time from Fred Neil. It's strange that almost no one remembers this song, which had such a huge commercial response. Are you all just too young?

One of the most idolized groups of the moment. I'm curious to hear this new one that I've already seen in stores. It seems like a growing group, but reading the comments above, not everyone thinks so. @Psychopompe: I wouldn't really call it lagna rock, although I seem to remember that the previous CD had a track that was 15/20 minutes of pure madness. Basically a hiss.

More than Jeff Buckley, I feel like I'm hearing Thom Yorke (between The Bends and Hail to The Thief), though without the same genius. It's an enjoyable album but nothing transcendent. Track number 6 (Sunday) is very similar to "Frutto Acerbo" by Le Orme. I don't want to believe it's intentional, and I think it's just a coincidence. A comment on this album after more than three and a half years... damn...

I had it on cassette. Who knows where it ended up and how long it’s been since I last listened to it. I thought it was a good piece of work, sometimes a bit lengthy. I saw it recently around the stores in a deluxe version at an unattainable price.

I listened to Everything Must Go and This Is My Truth... and although I found some interesting ideas, I have to say they weren't enough to keep me going. It seems to me they are part of the brit-pop-rock mix without managing to stand out significantly. In short, they're grouped together, where it's hard to distinguish one band from another. Don't you know Working Class Hero?!? Arghhhhhhhhhhh

A heartfelt hug to the fairer sex and a warm handshake to the gentlemen present, including the more or less ardent detractors. I would like to invite the latter, instead of the usual, worn-out, and pleonastic "I like/dislike" (or something similar), to provide plausible reasons why certain music, specifically the reviewed album, is more or less valid than others, without remaining in the realm of personal taste. Otherwise, everyone is right and everyone is wrong. That said, I would like to clarify that, in the end, it is always about music, so I don’t think it’s appropriate to take it (or oneself) too seriously. Let’s not lose the sense of proportion. Furthermore, I wish to clarify (to ArnoldLayne) that in reality the Tiromancino are a one-man band, so the plural seems out of place. Finally, upon re-listening to the album more carefully, I must admit I may have been too harsh. Staying within the realm of Italian pop music (because that’s what we’re talking about), three stars are well deserved. Goodbye.

Steve Wilson's side project from Porcupine Tree. Compared to the parent band, the sounds are more ethereal and the atmospheres more elongated. In the long run, these tracks can become tiresome if one is not a fan of the genre. For example, the subsequent "Together We Are Stranger" (where the tracks are almost endless) I find to be extremely boring. Here we are still in the realm of good taste and the excellence of atmospheric pop. For newcomers, it's recommended to start with "Flowermouth."

Since I am not so rude as to reiterate at every turn that I DO NOT UNDERSTAND, I'll simply say that it sounds like a dialogue between an Icelandic person and a Tanzanian. In any case, it seems to me that you have a bit of a mixed-up idea in saying that music magazines are just a business. Know that music magazines in Italy do not sell anything, and the majority of them survive on advertising (for the few that are fortunate enough to have it). Il Mucchio has no advertising (because they don’t give it to them), and indeed barely survives. Also, be aware that most of the contributors to music magazines do not receive any payment but are driven by a healthy passion and love for music. And know that record labels hardly send anything to music magazines (which used to happen regularly years ago and perhaps fueled a reciprocal business in some way). In short, those who choose to be music critics are unlikely to do so for money. Finally, I will tell you that I do not consider Il Mucchio a spiritual guide. Quite the opposite. Many times I do not agree with it at all. I simply consider it the most serious newspaper and let's say “the least bad” among the others. On the other hand, with about 200/300 weekly releases of new albums, I have neither the time nor the ability to L I S T E N to everything, and I will have to rely on someone if I want to hear and/or buy something new. Sometimes they introduce me to new and interesting things, other times they make me waste money. But after more than twenty years of reading, I more or less know my tastes, and I more or less know the tastes of those trying to make me buy this or that album. Today, the business is not even music, let alone music magazines that talk about music. With that, I conclude.