puntiniCAZpuntini

And I think you might be a bit young, huh.

Alright, I’m sending you James La Brie’s solo CD and the complete discography of Satriani & Ciccio Malmsteen. Back to Tommaso's live performances: officially there’s only the second CD of "Do You Know Squarepusher?", and even that one is less "progressive-ambient" than many of his works but still hovers around the brick/intellectual vibe, while online you can find his "DJ nights" (if they can be called that), where the goal is really to focus on the groove, very different from the CDs. Look for it while you still can, even though with the bureaucratic slowness of the islands, I don't think your exile motion will pass in the regional council before 2030. How lucky, and I'm the cursed one... yeah, right...

Let it be known that he's a DJ with guts at Turntablez and the brain of a needle, I can vouch for that, one of the best in the scene without a doubt. But one thing is a super cool DJ, another thing is a composer. Beyond "better or worse," they are two different things. That's what I was contesting, because here a DJ is being compared to a composer (Riccardo Twin), and they are two distinct things. Then, regarding your heresy - punishable by exile on Mount Spada until the age of 70 - that you just launched against Tommaso, I remind you that Tommaso, in his records, makes music that more or less (much more or less, so much more or less) always revolves around the "ambient" axis, while Tobin makes DJ records and revolves more around a "groovie-beat" axis; they are not easily comparable. I like both of them to listen to, both Tobin and Tommaso, but when it comes to assessing their actual artistic value, Tommaso/Riccardo/Autechre are light years ahead. By the way, if you feel like rummaging through various peer-to-peer networks, you should find quite a few live performances by Tommaso where he DJs and plays stuff along the lines of Tobin, which you might enjoy a lot, and you’d also find new fuel to feed your mental gymnastics for any future comparisons between the two. It’s a pity that I’m about to email Soru to arrange your exile on Mount Spada, and there you won’t have a computer to bother yourself looking for the live performances. Maybe I’ll send you some tapes from "Camaleonti" and "I Dik Dik," they’ll keep you good company. If you behave, maybe I’ll throw in a bar of 70% dark chocolate. But without any women (otherwise, what kind of exile is that?).

Everything's right, but in the end, I don't care much about the hassle. I don't just calculate the technical-instrumental value of the individual but the music they can come up with in their brain (should we call it "compositional value"? Yeah, let's go with that) + the technical-instrumental value. Tobin might have great ideas, but those ideas come to him while listening to various things. Just like you’ve probably heard a certain band and thought, "Cool, but damn if Giangiulio Moroboshi sang over it, it would have been such a cult". But that's just good addition, not exactly compositional value. He might also have great technical-instrumental value, but only up to a point: one thing is knowing how to cut, a whole other, much more complex matter in this field is producing certain sounds. As for creating the sounds of Tommaso, since he cuts and pastes, I deduce that he’s not capable of it. I might be wrong, but the reasoning seems to hold.

I completely agree. It’s no coincidence that Pusher is my favorite; supermodified is very pusher, less original yes, but I enjoy listening to it much more and it occupies my mind, which this doesn’t fully do, even though maybe in dance-hall this could shake me up more... but at the ripe age of 56, these things no longer suit me. Always emphasizing though that Tobin is a cut-and-paste artist, while Tommaso composes; there is an abyssal difference in value between the two.

Beautiful, but excessively over the top. For example: Di Giacomo is active; why should he have an heir? And then "the only one" seems pretty exaggerated to me, just as "As the same AT states, 'Bricolage' is a process of elaboration that uses various materials (be they texts, chords...) and creates new concepts, forms, a new rhythm that did not exist before." Okay, I get that they want to convince you to buy a record, fine that it's a really great album, but come on, these galactic protein phrases can be a bit annoying sometimes. He's good at being a cut-and-paste artist, but precisely because he has his fair share of copy-pasting, and it's strong too. As an album, I prefer the more famous (and not always the case) and recognized Supermodified. Very good, mind you, it’s certainly not garbage, but he is still a "sampler", I don’t think it’s necessary to praise him this much. :)

...Would you listen to Kayo-Dot? :D. I believe this album marks the beginning of the best period for Rush (not that the first three are bad, okay, the first one is a bit like this, but this one and those that follow are on celestial levels), for me from '76 to '82 they produced only huge masterpieces. The review is too metal, I don't like it. And you didn't mention Neil Peart, crowned by many drummers as the greatest Rock drummer of all time, (if Superintruder ever reads this, I think they'll have a fit over this omission) who in this work throws out forms of Parmesan and Gorgonzola to the paying audience. The octopus. The monster. There’s no comparison. A drummer with cube-shaped turbodiesel balls.

The spirit of the Milli Vanilli protects me, nothing can scratch me.

<< Hendrix had just left the Experience and was going through the most difficult and uncertain moment of his artistic career. >> Buddy Miles claims that during that time they were jumping from one venue to another, Hendrix was surrounded by women, so much so that he passed them around to others in groups of ten, and they were having a blast. The Experience didn’t “break up,” rather Jimi wanted a band and not a “Jimi train,” and he wanted it to be Black. He had served in the military with Bill Cox and played in a band formed by the company captain, and with Buddy Miles, as I mentioned above, a great friendship had developed. At Woodstock, Jimi didn’t understand a damn thing; he was shocked, not confused. It was Woodstock, not the organic artichoke festival. Buy the movie about his life; it’s great, and on top of that, you’ll realize that you wrote a load of nonsense; Jimi was never confused in his life. If anyone always knew what and where he wanted to go, it was Jimi. The Experience was a commercial product (in the true sense of the word, not in the musical sense) tailored to Jimi, and commercial products can’t be broken up, while the Gypsys were a band. The review is too clean and not at all Rawk N Rawl; it doesn’t capture the spirit of the character, let alone Woodstock. You talk about it as if it were an essay by Andres Segovia at the Conservatory of Vienna.

How much nonsense do you spew just to be the contrarian? Sometimes you’re pathetic.