Eneathedevil

Good job, those are just the guys from Electrip, who really know how to rock. I have to listen to this sooner or later.

I could digest it even more than a couple of times a year: unlike other equally solid works, it is never cacophonous, and that’s no small thing. However, I can’t stand this one as much: in my opinion, it is the album in which Schulze simply tries out the new electronic instruments. There is no other innovation apart from the instrumental: the ideas would come later, with "Timewind" and especially "X". Regarding the presence of the German on the market, it’s chilling to think that many high-quality CDs are nowhere to be found (I’ve only seen the first 4-5 in random order), while all the garbage from Tangerine Dream is discounted everywhere: the power of Virgin, damn it.

A bit mistreated, this Moby. The analysis I find myself in is that of Ghemison, who I assume has better framed the chronological evolution of Melvine Hall. "Hotel" was a pain, and this is definitely better, so we should appreciate its strong points. Among these is certainly the fact that, in reinventing himself, Moby has tried to incorporate new elements, including hip-hop ("Alice" is the best he's ever done in his whole career for its expressive and musical power, a classic worthy of the emotional techno of "Natural Blues," "Go," and "Flying Foxes"), the slow in French, the soft-jazz settings (I share the comparison with "New York I love You..." proposed by Ghemi). There is some indulgence towards trendy sounds, but 3-4 tracks are of quality. And that's not little, so for me, this time the staunch vegan earns a decent loaf.

Well, the pinnacle was the Bontempi harmonica with a plastic tube that easily condensated breath. Once, a friend of mine broke it right in the middle of a performance: a chilling experience.

Damn, Bartle, you’ve been quite convincing: from today on, I won’t be using corks to shove up my ass anymore!

Well, it’s partly true. But it’s not a matter of music genres, rather of instrumentation. When you think of rock, the first instrument that pops into your head is the guitar, and as far as I'm concerned, I have a visceral sense of repulsion towards that instrument, especially on a psychological level, since wherever you go, there’s always some jerk who can play the guitar, be it acoustic or electric. If it’s acoustic, the guy on duty starts rattling off the usual Liga-Vasco-883 repertoire with a cultured revival of Battisti-Baglioni from the '70s. If it’s electric (or a bass, forgive my generalization), it’s typically the most trite metal (Metallica - late, strictly - Iron Maiden, Drinthiater for the most unfortunate) with a little seasoning (if you're lucky) of '70s blues-rock in line with Cream, Rollistòn, Briuuuus, and the usual crew. I have a substantial dislike for this world, consistently aligned with my loathing of the guitar sound, perhaps induced by previous bitterness, but I couldn’t care less whether the egg or the chicken came first, since to me, they’re two distinct and contemporaneous pains in the ass. The '80s might have been a bit tacky and polished, but with those horrendous keyboards and the snare drum-that-Josie-doesn’t-like, no one pays attention to the little guitars. PS=This post is ABSOLUTELY SUBJECTIVE. Metalheads and neo-folk fans are kindly requested not to insult those who are free to prefer Pet Shop Boys to Creedence Clearwater Revival.

And indeed, the speech about it is right. In fact, I clarified that "it was certainly not written anywhere that they had to be extremists." They were less visionary than the others, but who cares. I just wanted to say that they seem old-fashioned to me.

Hey, big shot. Well, here we go again. You have a Machiavellian skill in flipping the script. But what Manichaeism and Manichaeism! If anything, I write from a spirit of open dissent against the either-or. The Manichaean spirit belongs to you, as it does to many others on this page, since you accuse me of listening to trash and liquid Mertens and Nyman without any niceties. No softness or sensuality. I, on the other hand, have never said that Riley, Young, and Reich have produced trash, and you'll remember some of my happy commentary on "Rainbow" and so on. For me, there’s no “good” and “bad,” there are two forms of good expressed in a language that is similar in some respects, in others very different. I rather advise you to avoid Manichaeism, since it is you who praise Cage (I still don’t get the connection with minimalism, but you can talk to Polpicello about that because I don’t understand it), Riley and the gang, while stigmatizing Mertens and Nyman. By the way, "The Piano" is indeed overrated, but I want to make it clear that I've never called it a masterpiece. A well-crafted soundtrack and a good film, that’s all, and frankly, I feel entitled to say so just as you feel entitled to label it mediocre (and I would be the Manichaean!). So this time, I tell you sincerely, you missed the mark. Accuse me of the usual ordinary boasting, of a certain tendency to public ridicule, of indulgence toward a certain intimate spirit in evaluations, but not of Manichaeism, no. That’s your virtue, through which you decide what is beautiful and what is ugly. I, however, do not aim to dismantle the myths you exalt. Bye, handsome Antonio.

Don't tell me you've never once in your life said "Thank you for the drink"...

My God! Know-it-all, you’re an insensitive goat. If anything, the first Nyman was questionable, with his blind and trapped minimalism. But in any case, shooting down "The Piano" is walrus behavior. The ensemble created by film and music is unforgettable. But I get you now: you’re not a sentimentalist. Regarding the post-minimalism issue, I’ll say it outright: you sick enthusiasts of experimental minimalism à la Riley have broken my balls. Mertens, Glass, and Nyman have given a melodic dimension to the minimalism of Riley and Reich, and that doesn’t justify them being stigmatized as cloying mannerists and sui generis. You are purists of empirical nothingness, of the nothingness of 4' 33'' by Cage. Which, by the way, only Purpulan knows how it relates to minimalism.