Eneathedevil

In short, the concept is clear: I create certain expectations myself, emmèh. But, no, I won't rewrite it: I scold myself for not having spent a few more words on the work, but the excursus is finished. In the end, it’s fine this way: we’ve gathered a nice collection from the comments and it’s better than those occasions when well-written reviews in my style received few comments (I’m already thinking about the previous one, which likely had no objections but received a third of the comments of this one, and it was on a Warp milestone like Tri Repetae!). And it’s no coincidence that the largest tail (100 comments and more) was for my most questionable (and probably poorly executed): Organisation by the OMD. It’s perfectly fine as it is, and besides, I was the first to think about serialized reviews, come on, come on, I have a certain precedence, néh. Miao miao

Damn, Geenoo, I can never figure out how you manage to understand certain things...

Okay, yes, that's the accusation I direct at myself: the fact that I was too elliptical, cryptic, since I could have, for example, included a link to Eno to clarify that there was no negative reference. So, did you mean "at the end" of electronic music? Of course not, I meant at the end of the discussion. In short, Kosmo, I admit there are unclear points, but still, come on, I also say "go and create" three times at the end and I quote Dalì, not some random jerk. It seems to me that there are points where it's clear there is a certain praise for it. Or you must have thought, at the close, that I was being ironic, because otherwise, I can't explain this misunderstanding. In any case, the important thing is that we understand each other now, bye.

No, no, no, Kosmo, this time I must fully disagree, and if on one hand I’m silent about being too cryptic, on the other hand I must observe that you are too impulsive in your reading. But excuse me, do you know what I mean when I talk about "music for non-musicians"? I’m referring to what for me is one of the great geniuses of contemporary music history, Brian Eno. In the book he aptly titled "Music for non Musicians," Eno outlined, at the dawn of the ambient music era he initiated, a new type of musician, defining the necessary characteristics not as the knowledge of instrumentation and music theory, but as absolute creative flair detached from learning. I believe it's clear how much I idolize Eno, so I think it's safe to say that when I speak of "non-musicians," there is no diminishment on my part. Furthermore, generally speaking, I wasn't particularly interested in the fact that Bernardi had a pedigree as a skilled player (if he does, all the better!), but rather that his production is clearly the result of electronic instrumentation that entirely simulates a musical band (something similar to what Kraftwerk and Numan were doing years ago with drum machines and synths).

Your third comment, then, Kosmo, leaves me astonished. I thought you knew me well enough not to merely insinuate that I am an Italian victimist: it's actually the complete opposite. Then, as usual, you need to explain to me on what basis you infer reasoning that I do not make. In the end, the only comment I agree with is that of Hugoniot, who expresses an opinion on the review without distorting any type of reasoning contained within it. And it seems to me quite understandable that it stimulates diuresis!

Hey there, everyone! It's incredible how strange the Debaser arena is: too often dismissed as verbose, I wanted to conclude by saying that today, in my opinion, it’s certainly much easier to make music and self-produce. So after the long theory of verbose reviews I’ve written, I thought it would be great to wrap it up with a lighter note. Let me get into the details: I must surpass Geenoo, to whom I say to reread my review ("What's wrong with making an album alone?" But I encourage people to do it! Of course, I sometimes get the impression that you might be a bit dense!) and respond to the other comments. About Kosmo: you misunderstood. Read again: "Brave Italian, who in cold Glasgow..."; I never spoke of travels. I only implied that in cold Glasgow there isn’t an interesting and evolved techno scene, thus Bernardi had the courage to propose that kind of music in cold Glasgow. I never intended to suggest that he was just indulging himself, etc., I just wanted to convey that today electronic music is expressed at high levels even through single individuals, through someone like him who made it on his own. I’ve never made a negative assessment of this, nor have I ever belittled Bernardi's work. I don’t understand where this perception comes from, and I remain quite perplexed.

But I don't understand this whole thing about "it was better when it was worse": Debaser is still the same, with its gay reviews, its squadrist communist editors, and with Geenoo being a pain in the ass!

What a woman, huh? Come on, I remember Debbie Harry, Kate Bush, even Tori Amos from more recent times. Twenty years ago, Courtney was just a decent piece of work, nothing more. Now it's absolutely embarrassing... and let's not even talk about the music, as that would be stating the obvious.

Aside from the fact that it’s not my kind of thing, I never read you willingly just so I don't miss the pleasure of reading you... these samples are terrible! A bullshit review den antwzsxichenò.

The usual sons of bitches. I will listen to it.