El Guevo

If it were only for Ribot's presence, then Capossela would also resemble Costello or Zorn, but it doesn’t seem to me that these resemble Waits despite the presence of Ribot and Cohen; this only happens with Vinicio... anyway, you’re right, I haven’t listened to the lyrics much, I’ll try to make up for it, maybe I’ll even change my mind about the album. I’ll let you know, bye :)

matters of perspective. For me, it doesn't matter how the recordings were done, in what places or what instruments are used, or how many musicians are playing (especially since sometimes too many cooks can spoil the broth, and in my opinion this is one of the major flaws of ovunque proteggi). What matters more to me is the final result, and despite these certainly fascinating influences, the songs are nothing more than copies of things taken from his old albums and from Real Gone by Waits. Then the fact that Brucia Troia has sounds from Sardinia doesn't mean it’s original, because the structure of the song, as well as those throughout the entire album, is not a novelty. Still, I had already pointed out the diversity of these sounds in my post; it’s just that I wasn't as fascinated by them as you were. In fact, after listening to the album more carefully and going beyond this "easy and fascinating diversity," I noticed the limitations that these compositions possess. Tastes are tastes, but it seems to me that Capossela has done better.

the votes

Strong disappointment. The album has very little to say if you look closely beneath the layer of easy diversity at all costs. In reality, we have an album with banal and unoriginal compositions, a repetition of things already done and already heard, both from him and from others, even in the titles (see "in the colosseum" by Waits), trying to pick up the sounds of "mule variation" in "Non trattare" and in others from "Real gone." Where does inspiration end, influence begin, and where does ridiculous imitation start, aiming only to mask limits and originality? Truly irritating at certain moments.

Strong disappointment. The album has very little to say if you look closely beneath the layer of easy diversity at all costs. In reality, we have an album with banal and unoriginal compositions, a repetition of things already done and already heard, both from him and from others, even in the titles (see "in the colosseum" by Waits), trying to pick up the sounds of "mule variation" in "Non trattare" and in others from "Real gone." Where does inspiration end, influence begin, and where does ridiculous imitation start, aiming only to mask limits and originality? Truly irritating at certain moments.

Great album, it reminds me of Your Arsenal.

I've finally listened to it. An explosive, extraordinary record, a true and authentic masterpiece, the most psychedelic of all by the Flaming Lips, but also progressive, pop, funky, dance, soundtrack. A contender for the best album of the decade.

terrible. Furthermore, this is an amazing soundtrack. Clearly, you don't know much about soundtracks.

I agree that Motorpsycho, as Zigghio says, have little to do with Flaming Lips.

It is certainly one of the highest peaks of the Flaming Lips' discography, but I don’t know if it is actually the absolute best, also because these comparisons, these rankings are pointless for a band that is in constant sonic evolution. One cannot ignore works like Soft Bulletin and Zaireka, just to name two examples. The review shows a serious oversight, namely the mention of Hell's Angel's Craker Factory, a full 23 minutes of pure sonic madness.