Eneathedevil

I didn't know the intention was to make the Zero universe accessible to the masses; if that's the case, as you pointed out, the result here is certainly not achieved. A difficult album, a delight for connoisseurs à la Scaruffi.

Hey, I hardly agree with you on anything! First of all, let’s start with global considerations: the album is a disappointment. A faded replica of refined pop and Ferro Battuto, with fewer ideas and less drive. The issue is simple: Battiato is focusing on other things, specifically cinema, and the album feels like a consolation prize for the loyal fans. 33 minutes, too short, for a work overall lacking peaks. Let’s get into specifics: "Il vuoto" is somewhat trivial here and there, but if there's anything exquisitely Battiato-esque, it's the intrusion of the baritone with off-beat singing: "Tèmpi dì profezià parlàno di dei che avanzàno," not pathetic but it does lift the mood a bit. "I giorni della monotonia" is okay, but it seems like a chapter already written: Amata Solitudine, to be precise, where a line like "Ero in te come un argomento del tuo amore sillogistico: conclusione di un ragionamento" managed to convey more. There are some glimpses in "The Game is Over," some incredibly tedious bits with "Tiepido Aprile" and similar stuff. I mean, we know Battiato for different things, let’s leave the pine resins to some neomelodic artist. But the truly questionable opinion, in my view, is about "Stati di Gioia," a piece I find disastrous. "…Lo stato che ascende alla gioia" comes in with an excerpt of a religious choir that harkens back to "E ti vengo a cercare," but with an embarrassing effect. Let’s not even mention the awkward moments like "She loves you…," it’s a suicide watch. The ending is saved, but even there the mind drifts back to "No U Turn" and "La porta dello spavento supremo," and the comparison doesn't hold up. God save that nonsense of "Orient Effects," to which this piece indirectly refers, a clumsy attempt at eclectic pastiche. Postponed to September, when we’ll see if a lackluster track like "Niente è come sembra" has at least been able to inspire a good film work.

Better correct that sentence: "How could someone who in the early '80s etc etc... be neurotic?" Well, now alea iacta est.

Come on, hey! Read it carefully: "between the flutes of Pan by Cretu and Roach," where "Roach" does not imply the genitive ("by Roach"), but the second term of comparison! You could have inferred this by analogy with the following phrase "Between the neurosis of the ORB and Deuter": Deuter does not imply the genitive, as someone who in the early '80s made an album like "Silence is the answer" and tripartite a piece called "Loving a Buddha" could not have. Well, maybe I'm digging into the unknown. Anyway, it's an extra tip: look it up, it's a subtlety. And in any case, Roach has nothing to do with the flutes, certainly. That's the domain of Enigma and (of) Cretu, indeed.

...send me a sign! A ring, an email, a telex!

I meant to say frigito!

Anonymous #2, I know who you are... you messed up! If you’ve figured out who I am, give me a shout! On Anonymous #1, our best forces, chosen and trained men, have unleashed the hounds: the police are groping in the dark.

Now this is an argument!

I raise the average!

What joy! Well, the controversy is stretched thin, I don’t have the required arguments at hand. Maybe I'll come back later; in the meantime, hold the banner of veritas high: Lost, you know what I'm talking about.