antoniodeste

Curious and contradictory, in a way, the interventions. I confess that I have 4 or 5 albums from the band on my desk for less than twenty-four hours, and that "my" former drummer (who now listens to ultra-experimental and monstrously "contemporary" things) lent them to me because, he says, they are essential in the context of the best para-rock experimentation. Certainly, reading the review feels like an unresolved love-hate relationship, in the sense that it’s not entirely clear (also due to a middling three-star judgement) whether the reviewer loves or hates them or, indeed, both (I would lean towards the second of the three hypotheses). For sure, it has motivated me to listen to this work (and also.... "it's all around you"). Maybe I’ll talk about it again once the "operation" is complete. In any case, regardless of personal taste, a "well done" to Renzo for the style and imaginative force of the juxtapositions. A happy and creative pen, yours. Sounds?

Dante, you are right. Unfortunately, sometimes I can't resist the temptation to call out stupidity. But you are right, and I promise I will stop here. I hope you are doing well. Bye.

PirlaTeeen: you are so dear... I don’t know how I would manage without you... Maybe they didn’t teach you in school that besides 1, there’s an even lower number? I’m surprised not to have seen it in your ratings. But since I assume you’ve been generous this time, I’m counting on you to make future use of that little number on my other two reviews: find them, there’s no need to read them, you wouldn’t understand a thing anyway, and feel free to shoot them down. As far as I care about sexyitonti like you...

I momentarily rise above the endless complaints and interminable disputes between you know who and Aeneas; perhaps I’ll start another one, directed at that great connoisseur of Punisher: I’d like to understand a couple of things, given your superior genius compared to Eno: what would be, then, the “usual” things of Monsieur Eno? And of the dozen albums you claim to own, which among these belong to the category of “usual”? Or: what would the “usual” albums of the artist in question be? Do you ever ask yourself, before posing certain questions, if they make any sense? Or are they dictated by (already mentioned by me) your monstrous pretentiousness in musical matters? Do you think that what you assert (not only here) is enlightening, constructive, positive? Are you really as cultured and nihilistic as you try to flaunt? Do you think that those who read you could hold you or your assertions in esteem? I kindly ask for your clarification to truly understand who I am dealing with. So far, (and I’ve been reading your stuff for months, here and there), I haven’t grasped what you want or believe you are demonstrating with your doubts, lamentations, condemnations, verbal lynchings, thunderous invectives, pedantic attitudes, and so on. Nothing ever seems to please you and you’re always ready to break the so-called balls. But what the hell do you want, if it’s not too much to ask? I await your responses with hope. Thanks in advance.

For Shineboy 1it: who are you referring to, out of curiosity? You pop up out of nowhere, a month and a half after the last post, maybe you haven't even followed the developments of the discussions, you insert yourself into something you haven't debated at all or in which you don't even remotely fit, and regardless of who the recipient of your stupid invective is, you dare to insinuate such nonsense? For me, whoever the "reference" you are addressing is, delayed is precisely YOUR middle name.

"calmly considered a piece of contemporary classical music...." : what is meant or conveyed by this phrase?

I want to personally thank Pat for her magnanimity in the voting. It's truly flattering.

I largely agree with nightwalker10's position (even if Stern, in my opinion, is a bit repetitive and "worn out," while still holding admiration for what he has accomplished). The simple explanation of common jazz identification parameters and their "functioning" is accurate. It's important to consider language and style, not "labels." Vannelli had, and still possesses to some extent, a vast vocabulary and a great style. Class, then (which is not to be taken lightly, as they say...) is one of the most easily recognizable elements in this great artist. If someone doesn't like him because he has an "annoying falsetto" or "is reminiscent of dance music," well, no problem: just listen to something else, right?

Did you manage? (Moi non). If yes, please, explain!

Very bad!!!