Eneathedevil

What can I say? When I hear opinions like those of Cavalli, I feel inclined to respect them, even though I often chew on this music. I respect them because, fundamentally, it’s the flip side of the coin of a type of music that isn’t immediate and who knows, maybe even a bit "sly." Alpha Centauri and Zeit are the champions of the "non-music" of Tangerine, and it's certainly no shame to consider the more "played" works to be of a higher level, at least more engaging and less diaphanous. Personally, I prefer Phaedra, of course, just as I prefer Blackdance by Schulze. It all stemmed from Picture Music, where Klaus for the first time gave birth to a revisited version of cosmic music, filling it with electronic sequences: in my opinion, the album is not exceptional (it’s a kind of long chill-out that doesn’t have the Teutonic breath of "Friedrich Nietzsche" by X), but it is the first in the series; probably TD felt the wave and adapted with Phaedra. I definitely prefer those albums by far over the early ones, with the cosmic background radiations that you can afford to listen to on a couple of occasions. It’s no coincidence that Schulze and TD shifted after a couple of albums: there was not much more to say. Here, in the much-lauded masterpiece, Tangerine, in my opinion, insist too much and exaggerate.

"The dark side of tradition": well, we understood each other. It's obvious, though, that one might have something to say about it: you throw the stone and hide your hand, since you don't explain. But we understand each other and I partially agree.

Come on. I lived in Sicily for 22 years, I don’t believe it’s that much better than Salento, so I think I have a say in this. You can and must say whatever you want about the University of Lecce and its equivalents, but don’t let pass the deep nonsense that the university here in the south is rotten while in the north it isn’t (and this goes for many other institutions as well). I have already had both direct and indirect experience: in the north, working and university institutions are full of nonsense and favoritism, and the mindset of many people is even worse. If you’re talking about Italy, that’s one thing; if you’re talking only about the south, you’re missing the point.

I'm controversial, on the other hand, in the other review. Well, you know how it is: we Southerners are very laid-back and traditionalist! Nun m'a tuccare 'a me terra and so on.

No! What are you saying, qzè? This is the bare minimum of my polemical nature! :) In fact, there is no criticism; I really liked this review, but I wanted to understand the perspective. The psycho himself pointed out he had inadvertently made some "distinctions." In fact, I would downsize by saying that the ironic intent was achieved; there's nothing bad about it. Regarding the punk-HC issue, I just asked if the judgment was not negative. I clearly asked if I was mistaken in my impression. This is anything but a controversy; this is a magnificent review because it nonetheless raises questions that many avoid like the plague out of hypocrisy. Psycho talked about butchers and so on with great irony, and I vote again.

This keyboardist is starting to intrigue me...

But that he is a southerner is clearly evident from the courageous review on Levan, where I criticized his certainly narrow-minded obsession towards the South. An obsession that, among other things, is presumably justified, but limited. Following that same thread, Krystal is nothing but a rational response to that review: in Milan, under precarious conditions and in a non-stimulating work environment. Just to say, even if the ellipse of the discourse has slightly shifted to another focal point: why be ashamed of Salento culture? We await explanations. As for the rest, I repeat: "dark side of tradition: ignorance" is a specious phrase.

Haha, I just got it now!

Great note, psy. By the way, I had hoped you would make distinctions regarding music, since punk, hardcore, and Beatles imitators are things I can't stand. As for punk and HC, they represent a very popular culture that simplifies music, so I can rightly see these genres as having less lofty aspirations, which is, after all, their distinctive mark. Of course, psychedelic rock also has popular roots (LSD for psychedelia, the slaves' blues for rock), but from both a musical and thematic point of view, the genre sought a broader scope. It has become less mainstream. It's more likely for a teenager to know the Sex Pistols rather than the 13th Floor; I've seen it clearly. With this (and here things get tangled), I don't mean to say that what is born and continues to thrive in popular contexts is part of a low culture (after all, I just said that rock originates from there, as do jazz and other unsuspected genres, so I’m not sure what qualifies as "high" at this point: presumably pre-20th-century classical music, but that just complicates things further), but simply that there is music that, regardless of its origins, aspires to something else—like the 10-minute jams you refer to and that I will listen to, rather than easy listening. It’s practically the famous difference, much discussed, between the Velvet Underground and the Beatles (we mentioned imitators, right?), where one might—it's a "provocation à la Scaruffi"—talk about high and low culture, respectively. And as you can see, the origins don't matter, because the Beatles were cool, baronets, and well-groomed.

"The dark side of tradition: l'ignoranza" is a phrase that doesn't make much sense. We understand what you meant, but you phrased it poorly. Krysalide has annoyingly but amicably gone on about this salentinism issue, but in your case, this isn't the first time you've had something to say about Puglia and related traditions. Yours also runs the risk of becoming a cliché. I don't really share your views.