Eneathedevil

Right away Odra, in fact I wanted to put four and a half... so be it, your will be done.

Play me my song...

Me, after Morgan now Pagani too? What a mess!

I've got orchitis!

Hermetic, of course, chickpea, but this is an adjective that pertains to the comprehensibility of texts; it doesn’t have much to do with a half-hearted use of voice as occurs through Lucio in this passage... I believe it was a reactionary attitude of Battisti, as I said: not so much the desire to turn everything into an even more incomprehensible jumble, but the desire to disconcert critics so accustomed to standards of clear and straightforward vocal interpretation.

All true, but come on, there’s more than just "La voce del Viso" on the album! :) It's certainly a representative piece, but from a meaning perspective, it’s the least useful, a real cosmic masturbation where, amid pleasures and grimaces thick with oracles, one would like to convey, in a sketchy way, that true communication culture is not the redundant babbling of words thrown together, but the gaze, the image, the silence? A kind of more or less convinced self-criticism of one’s own muddy digressions? Who knows, yet "Sul viso la sintassi non ha imperio, non ha nessun comando"! An interesting track, but how can we not mention the mnemonic power of tracks like "Hegel" and "Tubinga," where a young female figure appears not so far removed from the "girl" in CSAR and the Western bride of the homonymous ’90 track, a figure dissolved in the memory of afternoons spent studying between "Phenomenology of Spirit" and Hegel's biographies (the German philosopher indeed studied in Tubingen), so much that her name and surname were absorbed ("I remember her beautiful name: Hegel Tubinga")? Possible conjectures. Then there’s also the unsettling "Stanze come questa" and the sweet "Estetica". Nevertheless, perhaps the least convincing of B-P’s albums: disjointed and lacking the certain momentum that made a masterpiece like "La sposa occidentale" beloved. So maybe it seems clear, after all these years, a bit in answer to your question, that in the end, Battisti, at least with Panella, couldn't push any further: after Hegel, Battisti would have reached Hegel, it's probable.

I'm listening to it again right now... Ege isn't entirely wrong; I would just slightly adjust the argument by saying that the exquisitely "dark" contribution for which the J.D. remain among the top in music history will be fundamental for many other quality productions like those of the Cocteau Twins and the Cure, just to name a couple. For the rest, in my view, their music remains generally niche, not aimed at all genres.

"Time machine" is magnificent, but in this case, I truly must say that with this piece, the good Lucio has declared war on the human understanding of the listener: let's be clear, I like wordplay, hermeticism, and semantic phonosymbolism, but a voice concealed in such a way that it becomes unlistenable turns into something problematic. "Abbracciala Abbracciali Abbracciati" is acceptable, "Anonimo" is fine, but here nothing is really understandable... one must wonder: why did Battisti trigger this curious game of concealment? A desire to break away from the "understanders", probably, a reaction to the canons of comprehensible pop songs, but perhaps there wasn’t such a need to make what is being said completely unintelligible.

Oh, my God, Baby, Guinness... but it's just rinsing...

Yes, yes wait for the bus, then maybe Caz, Nick, and ZiOn will show up and we can expand the drinking situation.