sylvian1982

I already said that the review shouldn't be taken too seriously; it's just my very personal point of view that has annoyed and continues to annoy those who appreciate the MV. It's an album that I really don't like, and I wanted to express that. I find it strange that someone might enjoy this music (which isn't really music), but I respect that. If loving Anglo-American music equates to talking nonsense, then I guess there are many of us talking nonsense, in fact, a lot of us. Anyway, I own about a hundred to a hundred and fifty Italian music albums, and I like some of them quite a bit. Returning to the review, I wanted to share my personal journey with this CD, trying to joke about it a bit; there's no need for you to summarize the review by stating what I said and what I didn't say. By the way, I also had a 45 RPM by Nando Gazzolo that I can't find anymore; my father brought it to me from a defunct jukebox about thirty years ago. That's why I mentioned him. If you want professional reviews, you can go to the newsstand, where there are tons of music magazines that no one buys anymore. There, 95% of the reviews are positive. Good for them!

Ah! I almost forgot. Am I rambling? Did I say something that perhaps doesn't reflect the CD in question?
Well!

But who are you, Emidio Clementi? The review may be pathetic, but it expresses my point of view, which remains such. Even Pupo has his admirers, and I respect those who appreciate Massimo Volume, but for me, this is not music. And then the definitive judgments without justification are the offspring of those who express them.

It's a shame that progressive had already been abundant and served in every way back in the early seventies. And it's a shame that Genesis had already thought of these things over ten years before these guys. One can also acknowledge that it's a good prog album (like some others by Marillion), but one must also recognize that they arrived well past the appointed time (quite a bit) and that originality is not their strong suit.

Socrates never disappoints. Omniscient! For me, the holidays will start on Friday, August 4th. Just the grade: 4.5. Anyway, let's welcome records like this. You’re right, every now and then, or rather often, I disappear.

Five stars for this album is just not possible. Perhaps the worst they made up until 1977. Not bad, but tell me which previous albums are inferior to this one. Listenable.

Thank you, Odradek. I was starting to think I was being boycotted. If even you don't know them, it really means we're facing a true rarity. I expected a comment from Socrates since the Pearlfishers are right up his alley. Honestly, the album isn't a perfect score, but it's very close. To be nitpicky, it lacks that blockbuster single, and perhaps that's why they are perpetually living in the shadows. Unfortunately, this is the only album I have, and anyway, The Young Picknickers is not from 2005; it seems to me it's from 1999. The 2005 one is a reissue. I will take steps to fill this gap by getting the other available CDs by the Pearlfishers because, I repeat, it's not easy to come across pop of such craftsmanship. P.S. I discovered them because one of their tracks was included on a CD from Mucchio, when it was still a weekly, and subscribers were gifted a little disc containing the best (sometimes even the worst) of what they reviewed every couple of months.

This album (which had become hard to find) has finally been reissued, along with a DVD. Of course, it costs around 20 euros, but I think it's worth it. Now let's hope it's time for Recordings next.

That after so many years of honorable career behind them, XTC can still evoke deep emotions with an album of such beauty is a highly positive sign for everyone. How many new bands touted as the latest "next big thing" must (and will have to) bow before records like this, which for the vast majority of them remains, alas, a chimera.

Personally, I love their first three albums (Londinium is even stratospheric), but it seems unavoidable to note a certain involution already hinted at in the previous work. It feels like a routine job, without jolts, without emotions. As for the title track, I find it incredibly heavy. But the runtime is relatively unimportant because "Again," which exceeds 15 minutes, is for me a modern example of prog-rock. Anyway, I respect everyone’s tastes; that's a given.