antoniodeste

I join Monsieur Cruciani's judgment to express my sincere approval for the way and merit with which both Battiato (from the early, crazy experiments) and the gladiator have been evaluated. However, I must point out that the work in question appears to be the most "difficult" compared to those mentioned by the reviewer because here, more than elsewhere, the authentic experimental-concrete collage occupies the top spots. The "Sounds" (those generated by the analog oscillators of the synthesizers, I believe also Minimoog in addition to the main VCS3) are "replaced" with a pastiche of snapshots that sometimes, as rightly noted by some, are hilarious and in a completely Cagean spirit. Note that I haven't listened to this work in a very long time, so forgive me if the thread of memory may have become blurred. Bravo. You deserve to write in a damn publication about the avant-gardes and perhaps get paid handsomely for it. But I'm certainly not the one to tell you that.

Great Dante, as always, after all. But... who won at cards?! Were you playing for marks? (please don’t answer me "no: in francs, or giuseppi or roberti";); in short, was there money involved?

...perhaps it would be enlightening to take a look at "no logo" by Naomi Klein.....

Okay, Nightwalker, if it matters, you have my full support on the CK issue.

@Dante: Bingo!!!! I would also add Platinette among the "stars," if you don't mind, maybe in the part of the little poop, or suggest another part for him/her that might be more suitable. Regarding Bisio: Oh yessss. It really seems to be him (and even in more than one pose). Je te augur, in hyper-macaroni French, une trebonn domenicq! orvuar. (Because me, unlike the guy who doesn't know German, knows the French.)

I don't know if it's formally correct for me to intervene on this page since I am one of the two reviewers of this work on Debaser. I will limit myself to expressing encouragement to Domenico given the decent start and to largely agree with the correct intervention of Roby86, whom I greet. It is, however, significant that a work approaching its 35th anniversary still generates such strong enthusiasm in a young audience during these musically confused and uncertain times.

Well, dear Dante, completely unexpectedly, I discover that you met none other than Florian Fricke!!! Wow, what an emotion that must have been! But was it really as casual as it seems from the review? Just so you know, for me "Hosianna Mantra" is truly one of the possible ten albums to take to a hypothetical desert island (I don’t know if I would take anything by Elio, frankly, even though I love them), and it's, along with "Seligpreisung" and "In Den Gärten Pharaos," one of my personally preferred albums of theirs. Can you believe that just the other day I was even tempted to review it; then, as usual, lazy as I am, I lost the urge (just like the urge to work... and has been for a while now...). But luckily, Cruciani took care of it! It’s a shame about the usual antics that the usual debaseriani bombarded you with, steering the "core" towards other shores. Talk soon.

@ Dante: regarding spokkia and linguadura, if you really care, check out Marco Poletti's review of "Sergeant Pepper" by the Beatles and take a look at the ton of organic waste I've set aside for a certain Mr. X (speaking of spokkia, of course), who happens to be one of those "cultured" types.

Ah... is that so?! Robe, slippers, and hot chocolate, huh?! Well, let me tell you, I, "The Fly-man," after finding out (about being the fly man), would start (watch out for citation n.2) to "squeal" in a mosquito-like voice: "Help...! Help....!" But seeing you insist on trying to squash me against the poop, at first, I’d whip out my fly-tongue, but then I’d say, "Come on, Dante, do you think I'm that naïve?! You tasted it first and you know it's Nutella!!" At that point, you’d snicker smugly, and the other Dante (more and more surreal...) at home, the one in slippers, would let the hot chocolate fall to the floor, staining the doormat and, enraged, would shout: "I'll kill that screenwriter, I'll kill him!!": end of the second episode of Pulpgrill. Please, correct my draft. Regards.

@Symbad: I believe that the praises for the decades-long work of Manfred Eicher and his Editions of Contemporary Music (and the New Series) could never be enough. They are only comparable, if we wish, to the feats of Teo Macero, or Orrin Keepnews, or, I don’t know... Pannonica... Thanks to his brilliant insights, collaborations have sometimes emerged that have generated true gems. (The unlikely axis of Vitous-Rypdal-Garbarek-Weber-Christ ensen-Andersen-Towner-Darling-etc.) . Not always did the "alchemies" work, but often the game was worth the candle. Kudos and honors. How many in Europe are like him?