Eneathedevil

DeRank : 18,21
DeAge™ : 7754 days • Here since 18 march 2005
Grizzly Bear Painted Ruins
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...MoUrning Sound!
Come on, they are nice and this last one is quite enjoyable. Plus, I always have in my mind those beautiful chubby faces catching fire in the Two Weeks video. I really care for them.
Carlo Verdone Compagni Di Scuola
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For the bitter subtext it alludes to, it is probably Verdone's best work.
Bold yet spot-on is the reference to Buñuel's The Exterminating Angel. Well done.
Billy Wilder L'appartamento
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Usual brilliant comedy from one of the greatest professionals in the genre in the history of Hollywood. You did well, John, to mention Lubitsch as another excellent contemporary playwright of Wilder, and I would complete the trilogy with the other great specialist of Hollywood comedies, Howard Hawks, who also had among his muses the dear Marilyn and produced masterpieces such as Susannah!, Gentlemen Prefer Blondes, and The Great McGinty.
Review, as usual from John, in a spontaneous and sparkling style, with the rare quality of providing a thorough synopsis of the film without spoiling the key developments of the plot.
Lucio Battisti Umanamente uomo: il sogno
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The closing is a bit like this, and this time I won't rate the review (in line with the premise): my pragmatism focuses more on those "ups and downs": where would they be in this album? This is the album of pianissimo and fortissimo, if anything, and just think of the trembling and almost imperceptible spoken part of L. before bursting into the clamor of the cymbals in the chorus of Comunque Bella, or the same mechanism in the final crescendo of E penso a te. And the title track has great lyricism, but perhaps the music lovers will frown at the uncertain whistle from Lucio throughout the flow of the piece? Hello, nice chap.
Enzo Jannacci Vengo anch'io no tu no
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Damn @Martello, this first Jannacci is certainly not up for discussion, even if the Milanese isn’t among my favorites. But what are you doing in the review? Typos galore and even some spelling mistakes, as hinted by some prominent voices above. I won’t ruin your score, but next time, have it proofread, come on!
Lucio Battisti La sposa occidentale
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Given that we have all agreed that "Mi riposa" is one of the least successful tracks of the Panellian period, I must say that echoing @[lector], there is this time a bit of "youthful enthusiasm" too much, and the reading of the "concept at all costs" seems a little forced to me (the theme of married life practically looms as a central theme in an enormous number of works and products of human knowledge, so I don't think such a tòpos is sufficient to define a conceptual backbone). However, there are interesting insights that add elements to my understanding of the esoteric texts of the obscure Roman poet, and this shows, as usual, a thorough and passionate study of the subject.

However, dear @[Battisti], you have overlooked one of the most peculiar aspects of this album and in general of Panellian language: the virtuosic use of rhetorical figures. One could write a poem about the virtuosity taking place in "Tu non ti pungi più" with, for example, the alliterations of "zampilli di pollini che pullulano aggressivi irsuti istigatori di starnuti." And not just that. A little mention was necessary.

As for the album, for me it is second only to CSAR among the whites.
Tom Dissevelt Fantasy In Orbit. Round the world with electronic music by Tom Dissevelt
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I felt it for just a nanosecond, and I have the impression that the comparison with Méliès is more than spot on. I'll listen and then let you know.
Mina Se telefonando (brano musicale di E. Morricone/M. Costanzo)
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Zaire always the "plump" reviewer, with analytical insights that practically always stem from Deb, not least this review inspired by a piece about the Pooh. An affectionate leap regarding this work filled with sincerity and rigor in musical analysis, perhaps with a touch of generosity in recognizing some merit beyond the actual intent of the piece. I, being a perfect jerk, say that what is lacking is rather a thorough textual analysis, for in my view Costanzo, more unwittingly than deliberately, has crafted a small masterpiece from a linguistic and syntactical perspective, generating that ambiguity whereby “if I telephone” suggests it to be a conditional subordinate clause, while in reality “if I could say goodbye” is the conditional and the mere “telephoning” is the instrumental. The same scheme is repeated later with “if I see you again” where the preciousness is that "you" in apparent enjambment intricately tied to the "if I were sure" immediately following (apò koinù?). Is all this important? No. But it excites me. I know it could be an indication of a psychological imbalance, but Debaser is the home of the psychotics, so you will understand me and be supportive. Thank you.
Can Ege Bamyasi
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But in all this, is there anyone who can say they have ever tasted a gumbo in their life?
Can Ege Bamyasi
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Always interesting are the pages of Asterix, even though it's an examination of a work that has already been reviewed on Deb and the subject, as I have stated multiple times on the site, concerns one of the few kraut bands that I listen to reluctantly, despite recognizing their undeniable merits. However, I have to point out the one weakness, as our sinologist has launched into a very meticulous description of the ingredients, but cites citric acid as an antioxidant, while the latter is more often found in industrial preparations as an acidity regulator. Therefore, he doesn’t take the more natural opportunity to mention the correct ingredient, which in the case of antioxidants is ascorbic acid, known also, wouldn’t you know, by the name “vitamin C” (we understand each other).