antoniodeste

Unexpected: I read (in full) for the third time in six months this sheet and it’s truly a marvel. Perhaps not easy (but maybe it's just me who has gotten a bit scattered), but highly illuminating for those unfamiliar with the group and/or the album, and satisfying instead for those who know them but don't remember them with enough merit. Question: Blackcrow, where have you gone? :) PLF

Thank you, alter ego; your comment is no small thing either...

...Well, we’re almost at mid-August, but somehow (while searching in vain for the CD version of Palepoli by Osanna... and... not finding it) I managed to get my hands on this work, which I had "put on my agenda." I must really agree with MariaElena and Sylvian1982; the XTC (acoustic or pseudo-acoustic) that I found after losing sight of them for too long have been an extraordinary re-revelation. The album is truly beautiful, and it was easy for me to fall prey to its lightness and apparent simplicity. Listening to Partridge and Moulding without a rhythm section raised some doubts for me, but honestly, here bass and drums are not needed. @MariaElena: if it makes you happy, know that "Easter Theatre" has enchanted me as well. Thanks again for the tip.

It is indeed no small matter to include or not the GG in the "magnum" branch of the so-called prog. The academic derivations, the compositional originality and in the arrangement, the diversity compared to the mainstream of their contemporaries, would actually lean towards a hypothesis of exclusion from the "prog" phenomenon; however, I believe that what matters most is how the group was able to transform traditional compositional criteria of classical and/or symphonic music into expressive modules of rock philosophy. For my ears, this is not "technique really fine in itself", but rather the art of knowing how to sew a garment with all the most beautiful ornaments in the pursuit of expressive beauty. Perhaps with little "warmth" but with great enthusiasm, knowledge, and a desire to amaze. The Giants have remained unmatched for their originality and uniqueness (but the same could be said for Zappa, even today) and they have also heavily paid a steep price for this. Perhaps their cerebral and complex style, suited for more refined palates, alienated them from the sympathy of the large masses of rock, but, in return, it has left a testament of great value. "Three Friends", like all their works, at least until the terrible "Giant for a Day" and "Civilian", should largely be listened to ad nauseam to better understand the rock phenomenon or at least the Anglo-Saxon and European-derived rock of the 70s. There is still much to learn even today.

Well, as I wished, I listened to Frances' son. Wow! Usually, I try to save those damn American exclamations, but "Amputechture" exceeded every rosy expectation. The Volta are even more extraordinary. Another work of an hour and a quarter of mix, madness, quotes, remixes, paranoia, obsessions, mind-bending rhythms, and serpentine guitars. Exceptional is track 7, "Day of the Baphomets," which condenses the entire philosophy of the collective in just ten minutes. Thanks again to Steve Wilson for introducing me to them, and I just hope they can hold up. Amen.

@Fusillo: no! no! I’ll lend you the thong! (I have two: one pale yellow with black spots and one black with yellowish spots). Why miss such a "tempting" opportunity? I sigh in anticipation. :)

...I would prefer it with the suction... (with a naughty scratch). @fusillo: in case this gets you interested, I suppose that with a quick understanding with Probe, we could expand the "relationship" to include you as well. What do you think?

Sylvian has always known how to gather around him notable names to properly color his sounds. These "Dead Bees on a Cake" uniquely blend sweet and sour in an exemplary, perhaps singular way; it is true that the work shines thanks to an initial and unforgettable "surrender," but the other tracks expand in multifaceted directions the author's personal journey, providing a diverse and emotionally rich overall picture, even with contrasting feelings; the review, despite its brevity, is revealing of the happy variety of these emotions. A truly beautiful feeling.

@Shine: I must say that being "quoted" by the reviewer of "Tales from Topographic Oceans" really makes me very happy. I still remember how much admiration (and joy) I felt while savoring the love with which Shine spoke about that work. So much so that I can still confirm that the review of that album is among the most beautiful I have ever read; moreover, I definitely don't deserve the title you wanted to give me; at most, instead of "maestro," "minestro" might be more appropriate... :) Ah, perhaps a negligible detail: my last name is D'Este, not deste.

@Probe: ...well...more than professionalism, I would say it’s a matter (and love) of precision and perhaps style. Thank you, anyway, for your words. Believe me, I truly don't remember who arrived first in that contest. It's also very pleasant and constructive to exchange opinions, impressions, and emotions with you. Let’s see if we can keep it going like this, if we can…… :)