Eneathedevil

Cool, you don't love true great Italic music! A bit of optimism, it's true, but why does it seem like an almost symptomatic necessity arising from the dramatic nature of certain songs, even more pronounced compared to "Lucio Dalla": "Balla Balla Ballerino," "La sera dei miracoli," and "Mambo" have a more accentuated dramatic lyricism, in my opinion, and the cheerful outcomes of "Meri Luis" and "Siamo dei" are a palliative for a record saturated with gloomy atmospheres: in short, to put it briefly, in "Com'è profondo" and "Lucio Dalla," the optimistic gaze is less present because the heartfelt pessimism is lesser (If we exclude "Il cucciolo Alfredo" and "Quale Allegria" in the first, and the only "L'anno che verrà" in the second, Dalla never produces, like in "La sera," "Meri Luis," "Balla Balla Ballerino," "Mambo," "Il parco della luna" in "desperate" solos, he doesn't shout his loneliness), in "Dalla" there's more optimism because the pessimism is too much and needs a palliative.

they say, not "him" they say, pardon ;)

On "Siamo Dei" another bone of contention. It’s a divertissement, but Lucio cared a lot about this piece. He revisited the idea in "Viaggi Organizzati" four years later, in the title track, with the intent of celebrating the spirit of dignity in human solitude, almost as if he wanted to redeem man from that pessimistic gaze that permeates a work like this. The gods mock man for his miserable state of carnality, and in response he says: "All'eterno ci ho già pensato, è eterno anche un minuto, ogni bacio ricevuto dalla gente che ho amato," which, I must say, in my boundless gayness, I recognize as one of the most beautiful phrases in Italian singer-songwriter literature. Happy holidays, Cece!

Exceptional album, the last wonderful piece of the trilogy "Com'è profondo-Lucio Dalla-Dalla," imbued with an even more pronounced pessimism, a pathological sense of disorientation, sadness, abandonment. From "Balla balla ballerino" to "Siamo dei," it's a continuum of high-level tracks, there's never a letdown (unlike the previous two, where, for example, tracks like "E non andar più via" and "Notte" felt a bit like filler, at least in my opinion). However, I believe this is your first review, Cicero, that doesn’t completely convince me. Apart from the repetition of the "Lucio, where have you gone?" matter, which you already discussed in your previous piece, and on which there’s really not much need to dwell given the obvious difference between these records and those of today, I find the description of the tracks a bit too hasty. Besides the fact that, in my opinion, you could have at least mentioned "Futura" and "Balla balla ballerino" (they don't seem to get much attention, after all, a piece like "balla balla ballerino" is still open to all interpretations; even now I don’t have a clear idea about it, just to say), I think you've overlooked the introspective essence of the album, which, by the way, I thought you had grasped when you started to say, "I prefer to address the Lucio Dalla of Parco della Luna": that’s precisely the solitary and pessimistic Lucio Dalla of the entire work, whom you then immediately neglect starting from "La Sera dei miracoli," considering it "sweet," without capturing its sad and desolate spirit. Even "Cara" represents that form of incapacity I was talking about, with the lover unable to adjust to the beloved.

Ehm, no, carrozzà, maybe it’s not stuff for your ear pavilion, but do check out the site, you never know. Josuccia, the atmosphere of the review is dreamy, but I’m not exactly talking about dreams, huh. Well oh eh! Happiness, you say, gabbox? Uhm, if you mean a happy melancholy, then we’re on the same page, but happiness tout court I wouldn’t say, quite the opposite. I appreciate all points of view, but not having seen even one mention, in the top-ten debaseriote of this year, not even half a word spent in the comments for an album like this, struck me as scandalous.

Noooooh, zazà, what are you doing, you're hurting me in the heart? I don't agree, no, no, no. The album is really not very electronic, especially compared to the previous one: only "The Happy Sea," "Bubbles," and "Everything Lay Still" remain electro, while the rest of the album is very acoustic, completely different from the previous "Everyone Alive," which required a different cover from this one, which, to be honest, I think fits it perfectly. On Baroque castles, Provence, and various, precise echoes in "Floating," "I'll read," "The Sweet Rolling," after all, our artist is clearly inspired by the homonymous work of the 17th-century composer Dowland. Uff, very harsh :(

Nice split: we and Mp have an old unresolved issue regarding certain review leaks, but this time we feel like supporting him. It's less funny than one might think.

do we dominate you? what the hell are you looking at, tg4?

Vrogioni!

...we should set up a repertoire, you know already