Eneathedevil

I've always had the impression that you were already a regular visitor to these shores. We'll see each other again. See you soon and enjoy the music.

An interesting phenomenon but, in my humble opinion, a bit overrated. Certainly, FKA is one of the most intriguing performers of this last decade, alongside Janelle Monáe, with whom she shares Afro origins and exceptional vocal eclecticism. However, I sensed an exaggerated hype in certain praises from industry insiders who have cried miracle. I listened to her, and for me, it’s not a miracle: I certainly like tracks such as "Sad Day" and "Cellophane," but I have the strong impression that before we can declare the arrival of a new diva of R&B or avant-garde pop, she will need to aim for something more (e.g. consider a masterpiece like Archandroid by Monáe, which is of a completely different "weight"). In short, postponed to September. For now, three and a half stars of encouragement rounded down.

You say they’re still good? I wouldn’t know. It would certainly be a kind of miracle, considering I can’t even understand how that unique experience, born in a twenty-year span very different from today’s era, could find its place again now. A chance must be given, of course. Yet misfortune always seems to target the noblest gentlemen, such as the good Simon.

Ah! My friend µ-Ziq is finally here on Deb after a lifetime of hardships, my protector until a few lustrums ago, when I left him at Lunatic Harness, which really got to me, and which in my opinion already represented one of the peak moments of his career. Then we parted ways. Why? Well, it's his fault. Every time it's a hassle trying to search for his name on Spotify et similia, so everything resolves itself with my little finger typing the name of Yes, which has only three letters and doesn’t grow up unruly like kids named Mas-si-mi-lia-no. Even here on Deb, I practically found no other reviews because you can imagine the average reviewer coming here wanting to review µ-Ziq and starting to search for that damn Greek µ on the keyboard: "Well, I’ll do µ-Ziq another time... better if I jump on Dylan's latest vinyl instead." In my opinion, this choice has somewhat ruined him. Just think of the thankless task that CD retailers have to do to figure out where to slot him if they've put everything in alphabetical order. He could have made the choice of modern porn stars who steal stage names from famous actresses like Elena Grimaldi or Nicole Aniston in the hope – fulfilled – that people would go onto search engines and type something like "Aniston sex tape" to find, instead of Jennifer, the whole portfolio of the eponymous visitor of the black couch. He could have called himself at the dawn of the '90s Joshua Gallagher or Mimmo Ashcroft, who knows.
Anyway, weird choice for this little disc, given the glimmering peaks of the '90s with In Pine Effect and the aforementioned Lunatic Harness: listening to it now, much to my surprise, it sounds good even though it belongs to a whole other decade. The review is in a wreckage-laden style filled with neologisms, infinite nouns, and a smudge: I know that 123* can certainly do more, but a big praise and a metaphorical lick for having made µ-Ziq acceptable in the Deb-world.

"With a leap, we are in the two-thousands, at the doors of the universe; the important thing is not to arrive in line, but each of us in a different way."

So, I saw her for the first time in the video for "Crash" (great track) by Immanuel Casto, and I kind of fell in love seeing her dressed up like a pre-Brazzers secretary with a blouse, a pencil skirt, and black patent heels. Then I listened to some solo tracks from "Certi Sogni," and I have to say I wasn't particularly impressed, but it definitely deserves another listen.

Anyway, I've never understood if Casto, who plays the ambiguous card so much in his musical creations, has quietly been having an affair with Romina, who has always been his great ally. In my opinion, he has, but who can really say? Maybe @[Sullenboy] is in the loop and can clear up this doubt that weighs on me like the fourth secret of Fatima.

Ah, but think about it: so you like this. I didn't expect that. Are you perhaps a bit too lenient in your judgment on this and ungracious towards the second, which is certainly grossly overrated, and I still wonder why. In the end, H.A.A. is just a pop reinterpretation of the first, a sort of Homework with a tacky twist not so distant, as one might believe, from Discovery. R.A.M. clearly tastes like cocoa pastries with delicious biscuit dough.
Anyway, in the end, the syllogism is as old as the hills, and I regret not having understood it immediately (must be the rust accumulated after years): the usual story that pop = ugly, but I think we've had this discussion a million times and never came to a conclusion. However, the general idea is that I was right.

Once, with certain folks around here, there would emerge monolithically interesting discussions about these two unfortunate Englishmen. I'll limit myself to commenting on Exai, which is perhaps the last thing I managed to listen to entirely from AE, and in my view, as usual, they exceed the measure, particularly from a temporal standpoint. It's incredible to think that almost thirty years ago, in Incunabula, there wasn't a single redundant minute, while here certain solutions are profoundly exhausting (but for me, this transformation began centuries earlier, back in the days of Chiastic Slide). However, to save both the goats and the cabbages, I must say that nodezsh rocks. And given the regression they've entered into for quite some time now, that can be enough for me.

A longer review than Mister Muscolo's arms at full stretch, but commendable for its enthusiasm and analytical ability. I had also written one on Don Giovanni about fifteen years ago and wow, I had never noticed the possible interpretation of "ecco me di anni tre" in reference to World War II, so I must say that the review provided an interesting insight. However, this could counter the assumption, since while the texts from the Mogolian period are certainly significant in more than one passage of Battisti's experience (you mentioned Barbacane: in my opinion, one of the most interesting things he said in his interviews is that "Questo Inferno Rosa," a piece I consider among the best of LB's entire career, seems like a musical transposition of the relationship between Lucio and his wife Grazia Letizia Veronese), those from the Panellian period seem to run on a different track than the music, and it is no coincidence that there was talk of communication of the texts by Panella via correspondence, making it difficult to think of possible autobiographical references from Battisti during the Panellian period. But we quickly enter a thicket, since it is undeniable that the words of the title track are representative of the singer's thoughts, as rightly pointed out in the review, so we can certainly say that at least in this album, the doubt that the Battistian experience emerges in several points is more than legitimate.
By the way, I prefer the three subsequent albums to Don Giovanni, especially the obscure C.S.A.R. for the smoke it throws in the eyes. Hegel a step back.

Great Psycho... knowing your background, I can understand your comment on Currents because after starting from something like Innerspeaker and practically ending up in synth-pop, it feels like betrayal and being cucked. For me, however, it's a transition that makes sense, because Parker still has good ideas, and in fact, some he develops little, throwing them away (e.g. "Nangs"), and the impression is that it's a cheesy and turncoat album but still somewhat inspired. This, on the other hand, feels completely tired and without standout moments. It goes without saying that I also believe there had been a smell of something burning for several years, due to the leaked singles and yes, also because of Currents, since I was wondering what he could do after completely overturning the principles of the early Innerspeaker and arriving at that point. The fire has spread, let those who can be saved do so.