Eneathedevil

I find Tschaikovsky's sampling intriguing, just like the voice of Atlas... better than Albano's, Grass ;) Then, being a good southerner, I can't resist the splendid "Cammino Interminabile" suspended between Arab and Sicilian sounds, a true masterpiece, in my opinion, of the entire work.

What proves difficult when confronting a musical idol is recognizing the missteps that may have characterized their career, so not everything Battiato produced can be taken at face value. In my view, much of our work is often debatable in terms of quality, particularly regarding pseudo-classical pieces like "Come un Cammello...", which do not rank alongside typical masterpieces. That said, however, I don’t feel like completely dismissing this album, which I consider not one of the best, but certainly quite pleasant. In this regard, the review seems to start from a wrong assumption, and it’s the usual story of comparing it to previous works. It’s too easy to label an album mediocre simply because it’s not as good as its predecessors, and it’s a banal observation to state that here we’re light-years away from the glories of "La Voce del Padrone" and similar works: an album should be taken for what it is, tout court, abstracting from all the prior production, or you risk passing off a product that is, if anything, "inferior," and nothing more. As primiballi perfectly puts it, the standard is always something else, and I would really like to see how the music world would react to hearing an unknown person sing about sarcofagia and more: they would praise them as a phenomenon; however, since we know it’s Battiato, we always expect something at that level, and if the quality has decreased IN COMPARISON TO OTHER WORKS, everyone rushes to say it’s garbage. I add: a bit of arrogance in the review (and if I’m saying it… :D), and some inaccuracies in my view: for instance, the lack of lightness and the supposed new age at the end of the last track. There’s no denying it… wow, what liberality :)

And she has launched a new trend with her continuous dances and provocative outfits, and anyone in fashion, no matter how ugly they may be, is a character, because they play tricks on us all, making us believe that the must is to dress and dance like that... Kylie, I bought the little slippers from your lingerie.

But you're a genius! You hit the nail on the head; after all, the purpose of someone like Kylie making music isn't necessarily to provide a high-level musical product, but to enchant through the culture of image, a task made much easier if the image is one of those that attempts to, and to be honest, our stunning girl has all these possibilities in the works. Ever seen the video for "Slow"? What sensuality, and who cares if the tune is silly? I'm watching her; the music doesn’t even matter to me at that point, and Kylie knows it, keeps moving and grinding, and I'm watching, and she, knowing that, continues, and in the end, I don’t even remember how the song went.

How beautiful! A review on the Spais!!! Oh, so finally I can write the RANKING! First: I’d say that androgynous one Victoria, with those two zebra legs from the African hinterlands, a hot and spicy entity also thanks to her super cool spais-boy husband. They say that at the end of football matches her shirt smells soooo goood… Second: Geri, well, after delighting us at the beginning of her career with her big boobs in the American Novelle2000 how can we not give her an honorary spot? A bit of a chubby one, but everything adds to the broth; Third: Mel B, a nice décolletage I’d say, a beautiful horse from across the Alps, but so mean, she made Geri cry and that’s not nice, just a third poster for her. Fourth: Emma, a living miniature that not even the platform shoes could make more human-sized: we could say "And then, Kaili is short too!"... well, Kaili is Kaili, Emma is Emma. Fifth: Mel C, the sporty spais, so sporty that it was thought that wearing tights and sneakers was a choice forced by her glaring lack of femininity… in fact, no one can take that ponytail away from her… SPAIS FOREVER!

Wow, what a dirty Birkin!

Damn, I had never seen Kosmo being so harsh! :) Well, yeah, Gainsbourg deserved a little more.

I fully endorse everything, and even without having the disc in my hands, I vote for the character because it deserves it.

The highest peak of Enya, and perhaps of the entire modern Celtic production, if our refined artist can belong to such a restrictive genre... with pieces like "Caribbean Blue," "Book of Days," and "Marble Halls," it's impossible not to connect (aided by product promotion through films like the bricklike "Cuori Ribelli" for the second, and the witty "Camera con Vista" for the third), especially since certain colloquialisms in English make them feel closer and more accessible, thus more immediate. But while rereading the immense masterpiece of "Caribbean Blue" (the beautiful fairy-tale clip from over a decade ago), one finds a bit of Latin (an old trick dear to our hearts), and elsewhere Gaelic takes center stage with a nearly disarming musicality ("Ebudae"), so that in the end everything surfaces with wonderful immediacy, despite adverse languages. I repeat: Enya, not of this world.

Well, change your mind, I'm off now and I'll give you a chilling glance, that of someone who fears not being heard just for their words, but for a pair of clear eyes too charming not to enchant... we'll meet again.