Eneathedevil

With Kinder Breakfast's 5 cereals moreeeeeeeee... Zzzzzz, sorry, but aren’t you going to say anything about the cover? :)

Finally, a review of one of the most important dark punk icons in the music scene, the initiator of a true "vocal movement" that would later inspire great voices like those of Fraser from the Cocteau Twins and Sinéad O'Connor. An excellent and necessary choice.

Still with this resentment towards CINR? Well, here we totally disagree: I prefer the lexical flavor of "dense feelings," "crude double entendres," and "expenses exchanged for brides"... forget about unhappiness, truth, serenity, badabum badabam.

Yes, ZiOn, I was waiting for you at the turn... don’t vote for the review, okay! :) I already wrote about Kraftwerk and their influences in the review.

Really interesting! It's a topic we could discuss for hours... I will try to be clear and concise as Giovanni wanted from Al John and Jack. So, it’s true that a masterpiece must be represented by creativity and deviation, certainly not by the SENSE you oppose, which, by the way, I definitely didn't hint at (yes, I remember the interview); I’d like to point out that I didn't mention a bijective correspondence between masterpiece and linearity, I only meant that it’s a factor to consider, just like creativity, which doesn’t necessarily clash with linearity itself. Growing mannerism from DG to CSAR? I don’t know, perhaps the mental saw of "Equivoci Amici" is more manneristic; anyway, the concept is clear, divergent opinions. Regarding the "freshness of the debut work," I think in every artist’s discography, the first work is always the rawest yet most interesting, the second is the best because it’s more stable, and the others, if the artist is of quality, are good until the decline; otherwise, they’re awful. Thus, in the panellian course of the new Battisti, a true discography in its own right, the process is the same. The same goes for the old: let’s exclude "Lucio Battisti" and "Emozioni," which are compilations of hits released on 45s (but even if we wanted to consider them as the first and second actual albums of Lucio, the second surpasses the first): "Umanamente Uomo" is raw in several points, in Lucio's uncertain whistle in the title track, in a lack of orchestral depth, in the indulgence towards fillers like "Il Fuoco"... all completely different music from "Il Mio Canto Libero," released a few months later.

Another interesting reinterpretation of the title, antithetical to mine: love would be represented by the 4 instrumentals, while non-love would be represented by the 4 sung tracks, since what is love would actually not be love at all, but purely a carnal matter... makes sense.

I haven't found any news to support that, but really nice ass, congratulations.

I agree with Ringo, of course. And yes, even the thanks are trivial. Good job Bogus, it was indeed "Immersione", where we rediscover Battisti and Pappalardo's shared interest in the sea (see here Windsurf Windsurf).

Well, exactly, experimental masterpieces are the finished products of high quality where experimentation has yielded great results. Uhm, regarding Don Giovanni, I contest the lack of homogeneity :). You know, Bogus, in my opinion, a work must have its own compactness; it must produce a linear musical discourse: it is not important that it is completely understandable, but it must be linear, straightforward, orderly. "Don Giovanni" needs to be refined: there is no cohesion between the tracks, too many linguistic diversions, too many puzzles... not all the pieces refer to the figure of Don Giovanni, only the title track fully does, so at this point it would have been better to call the album "8 songs by Battisti-Panella"... take "L' Apparenza" (we'll review that one too, eh...;D) and see if there is cohesion: the mirrors that reflect a false image in "Specchi Opposti," the title track, the things that happen "Per tutt' altri motivi," the references "Per nome, ma non tanto per davvero," the scenic reality of "Dalle Prime Battute" and "Lo Scenario"... a more finished and linear product than Don Giovanni. Whether you like the first one more than this last one is obviously another matter. I add: I question the finiteness of "L' Apparenza" as it is an apparent album like the title suggests and refers to something more concrete... "La Sposa Occidentale"? Well, for me, it is a more finished, denser work, always referring to that figure of the beautiful and rebellious woman who appears at wonderfully regular intervals in the album, much like in "C.S.A.R."... anyway, a very interesting discussion.

First side: "Write your name," cute and silly, "Mystery" interesting for the reference mentioned in the review, "Windsurf Windsurf" just like the first, "Relax and Listen" kitschy new-age, "You Are No Longer Alone" average, "Foreigner" the most captivating. For the second side, the list of musical authors that inspired Lucio in "Recording" is quite interesting. Come on, Grass, "epidictic" is beautiful :)