Eneathedevil

Yes, acid electronics is not exactly an optimal definition, you're right. It was just a way to talk: electric music, anyway. Well, ajè, if you want I can send it to you so you can give it a listen, that way you can think twice before you buy it :)

Ah, right, Ligeti, I had forgotten about that. :) Regarding the issue with Schulze, my God, I had my doubts that you understood me, and now I’m certain of it. The matter of the toilet flush offended you, eh (and to think that there really is one here!). Let me repeat: my evaluation of Schulze and similar authors stems from an ironic observation about the sometimes overly repetitive and monotone nature of the filler factor; to put it briefly, I’m joking a bit. But I don't dispute the value, which I still consider very good. I downplay it in the sense that I wouldn’t give Irrlicht a 9/10 like Scaruffi does, but rather an 8/10, in the sense that I recognize the grandeur of the organ in Ebene but criticize a bit the exhausting ambient minimalism of Exil Sils Maria, which does start from an intriguing underlying idea. I downplay the quality of Irrlicht and company a bit through irony. Anyway, I had explained this to you, you're really thick, eh :) And how would you explain that at this very moment I'm listening to Klaus - what a coincidence - and I keep searching for his works relentlessly? Masochism? :)

But look at this... "Eskimo" doesn't like it much, and they even carry it along in the profile... oh well!

By "acid electronics," I roughly mean electric music, the noise of electric discharges in the style of Karlheinz's early experiments, fundamentally atonal stuff.

Zaiotto, I catch you in the act: elsewhere you had denounced the heaviness of it all, huh! :) Anyway, I agree, very often I find myself in the middle when it comes to evaluating certain challenging authors like Schulze, Riley, Stockhausen: in this case, I feel a bit too bothered by the disproportionate volume of the work. I suggested "A" to Ajeje because, in my opinion, it is just as complete as this without being so wordy; here, I believe the Panzoni have lingered to the point of excess on the same applications as the previous discs. Four hours is excessive, and the last CD is unbearable.

Eh. And give me a high five then, you stingy little rascal!

All valid points, but the problem is that those who contest what I wrote don't engage in a musical discussion about the album, which I have at least attempted to do by defining the genre types of each piece of work. This makes me think, because I fear that the work is being considered too summarily as an indivisible whole without delving into the details as one ought to for a four-part work. Differences of opinion, Gonzo, of course, but I expect you to provide me with a clearer explanation for your rating, one that is absolutely unsupported by any reasoning. I say this because, to me, it doesn't intellectually challenge at all, or at least if it does, it's only in the case of the first CD, and partially in the second: for more than 50% of the album, the brain drifts off to sleep during the long pauses of silence or electric discharges. Regarding Glitch’s objections, well, I explained quite well why I gave it two stars; in fact, the review is a demonstration of that rating :) Of course, your observation about the Finns is valid, but on the synth issue: they won't use traditional synthesizers, but rather DIY machines that synthesize sounds just like them, and which they can't help but bring along to their sparse concerts. For the rest, I repeat: those who claim to know this album haven't stimulated any musical discussion to support the validity of their vote.

Go Palermo! I don't have anything of these though.

Yeah, alright, Puniè. Of course, the review is learned; the only thing left is to get the tone right with Ludwig. And there’s no sophistication; the first paragraphs do justice to a condition, that of deafness, which Beethoven could only suffer from in an exhausting way, and of which there is also a dense cinematic and literary production.

Ah, between us, michi, I find "I Dance Alone" quite terrible. Luckily, there’s Liz. I always remember that the essential starting point is, in my opinion, Treasure, followed closely, again in my view, by Blue Bell Knoll. I also want to mention the first two gothic ones: a bit too naïve Garlands, dense and varied Head Over Heels.