Eneathedevil

Ah, has it turned into a nostalgic page with stories about Pioneer car radios and cassette tapes with cracked plastic stuffed in the dashboard compartment? Well, then I'll contribute my old Opel Calibra and the worn-out tapes of Pink Floyd, Chicago, and Simply Red (early '90s).
The usual almotasimian review with the usual timely anecdotes filled with the usual terms from the cultured lexicon. However, I don’t know, I would picture that "Pfizer" better with "lo," extending what is valid in Italian for terms starting with a plosive and fricative or fricative and dental. Half a point off: from five and a half it goes down to five.

I would only listen to it for the prolific reviewer's references to Leftfield and Planet Funk, but it’s definitely not my cup of tea and that “sufferation” is really an eyesore… @ZiOn, I'll pass this time while waiting for the next proposal.

I was well aware of the film's fame and kept my distance, preserving my hygienically perfect childhood. An unusually down-to-earth and free of burdensome overthinking @[Caspasian]. Very good.

There’s no more time for these things, @[MarkRChandar]: the little girl did well to get rid of them with this heat!

For me, "Return to Innocence" really hit the spot. The rest I don't recall, but I doubt it's better than the excellent MCMXC A.D., which I still consider an unmatched masterpiece of the '90s. It's incredible how many new age music artists found inspiration in that album.

Anyway, nice rediscovery, @[ZiOn]: I'll give it a listen to refresh my memory.

I don't understand: do these really exist? And do they hand-color the covers with Carioca markers?

So, Lanuccia represents one of those typical cases where judgment is skewed by the sympathy held towards the character. There is no doubt that her way of presenting herself in songs - especially dating back to the times of Ultraviolence - is as irritating as the absurd mystification of her facial features, making her appear seemingly empty and artificial. However, if we limit the judgment to her craft, that of a singer, two elements must be acknowledged: the vocal eclecticism with which she continues to "create music" where there are no premises (the peak here is White Dress, where she inaugurates a kind of raspy falsetto that is pure melody) and the incredible productivity with which she continues to churn out works, despite the much-celebrated colleagues who live off albums stretched over years through the usual commercial operations that prolong successes for myriad seasons thanks to tours and promotional clips. This intellectual honesty is, for me, a strength that truly makes her a rare gem in the international landscape.
That said, here Lanuccia complains a bit too much, and I don't see any interesting musical solutions compared to her previous albums. In short, it's a decent bit of nonsense. Three stars are sufficient and more than enough.

Old fishing line, ZiOne: if he wrote so well about Lady Germanotta, there must be a reason for it, and after all, in the plastic circus of contemporary starlets, Lady G is certainly not one of the worst because she can sing well, play even better, and above all, she has distinguished herself by achieving fame with a song that samples Boney M (and therefore cannot be a musical illiterate like many of her colleagues). Sure, there are the usual commercial maneuvers, but she has written some good tracks. Now, the impression is that after years of indecisive music, with this latest effort she has returned to dignified levels, with a concept that recalls, in structure, the excellent Archandroid by Janelle Monae (though we are certainly on quite different levels), and the proof of this is certainly ZiOn's enthusiasm. However, I have heard something, and although I believe the rehabilitation of Germanotta as a significant artist of our times is justified, I do not perceive the proclaimed miracle. A rational perspective? I do not see a true attempt to make the product “interesting” with hints of experimentation - even vocal - or musical contaminations. Moreover, the story of her mental ghosts is starting to feel a bit worn out: she's been going on about it since The Fame Monster, and perhaps after nearly twenty years of self-pity, it would be time to change the record.
Anyway, I will listen to it more closely, because I really need to understand these four and a half stars given by someone who would gladly re-listen to the four grinding hours of Kesto by Pan Sonic…

You know I always stop by even if you explore territories that don't suit me. This time I don't have any notes to make, as the review is excellent.

Ah! From the cover, it looked like yet another reissue of Kid A (which @[algol] is crazy about), but luckily it seems to be something completely different. Given the references, it moves to the front of the listening queue. Nice double whammy, Psycho (indeed, this was the second goal missed in Udinese-Panathinaikos).