antoniodeste

I have always been a fan of the trio, at least until the day after "welcome back...." and it seems that the ongoing quarrel must determine the intrinsic value or exhibitionism of the group.
From my perspective, I believe there is a bit of both, without any problem. Whether people like it or not is another matter. It's still true that those with a decent background in classical music may have a greater inclination to appreciate the work of ELP, as well as that of Nice, Gentle Giant, or Renaissance, since all these groups lean towards the so-called "symphonic rock."
As I see it, Beat Boy is a good young guy who loves listening to music and expresses the pleasure and joy it brings him. Stylistically, he still has a bit of a way to go, but he lacks enthusiasm. Bravo Grasshopper (a fine connoisseur of classical music, I’d say...) for encouraging and "teaching" him; as for the others, it seems their impression leans a bit toward the defeatist; or on "but listen to something else, come on!" or even "what the heck are you writing?". I don't like that much; but we live in a democracy, or at least it seems so.

Many times I realize, Gabbox, that I speak with a "chosen" use of vocabulary, depending on the person in front of me. It's not schizophrenia or chameleon-like behavior, but, in good faith, an attempt to convey an idea, a concept, a feeling in the most appropriate way that the person in front of me can grasp simply and directly; or complex and articulated if the person is cultured, complex, and able to perceive subtle nuances. I believe this means, on my part, an "effort" to be understood clearly, which is never simple in certain aspects of life. Setting aside for a moment the assumed merits of the duo's work, what leaves me perplexed about this kind of "audio-verbal descriptions" is precisely the choice of stylistic approach. This does not exclude the possibility that it may satisfy you and your desire to write; and this (I acknowledge it) is certainly prejudicial towards you (referring to the purpose, though). Whether this helps others to understand what the work truly "contains" continues to leave me with doubts, not to mention that, forgive me, I still don't like the style. But if this pleases other readers of Debaser, Gabbox, you're welcome! A frank and cordial greeting :)

Yes, let's talk about things that have the flavor of legend by now. It's still difficult to sense, listen to, and discover pianists like Evans. "Waltz for Debby" is an immense treasure that those who have found it cannot forget; after all, one could say the same for much of Bill Evans' production. In my small way, as a guitarist, I found some comfort in a wonderful publication by John McLaughlin (another good follower of Evans) from ten years ago that I recommend to enthusiasts: "Time Remembered," featuring four classical guitarists, an acoustic bassist, and, of course, McLaughlin on classical guitar. It's a Verve release, gathering the episodes of the pianist most dear to the English guitarist, and it MUST be listened to. Congratulations on the review.

the votes, the votes !!

Beautiful and concise review for a "meteoric" and "prophetic" group like this. Indeed, May & Mercury owe something to the Mael brothers, and I believe a part of the so-called subsequent or contemporary glam (for example, why not the Bowie of that time or Mott The Hoople?).
A breathtaking album "Kimono," with its explosive rhythms and retro atmosphere. Rock in one of its possible great expressions. Nice job, Hyeronimus.

Nice review from a "lover" and enthusiast. A small clarification: in English, "schiaccianoci" translates to "Nutcracker."

Read carefully, believe me, there is no "contortion"; rather, length and boredom, that's for sure.

I could start a long digression on the meaning or the "educational" usefulness of reviews like this one, which, unfortunately, convey little or nothing on a musical level. If it is a "need" to "express" something, there are paper and pen (as in the poetic tradition) or, more modernly, software programs suitable for the purpose. Or I could quote Joni Mitchell, who once said that she believed little in art that is understood by four or five people.
The adjectives placed there alone have a great effect, undoubtedly, but stylistically, apart from reminding me of the vogue of the Beat Generation, they also come across as a bit contrived and aestheticizing. Expressing oneself in these registers is random and sadly elusive; it is not clear to whom the observation about the object is directed and what exactly is intended to be communicated, or at what level. There is a reasonable suspicion that there is an intent to impress the audience with prosaic/lyrical expressions for some fragrant incense in return: characteristics not new to the cult of personality.
I know Ryuichi Sakamoto well, I believe, since the days of the Yellow Magic Orchestra, and I also had the fortune to enjoy his performance live three years ago, I think. And I know, to a lesser extent, this Mr. Nicolai and the things done with this duo. Interesting, I won’t deny it. But on one side, there are other measures to consider the impact of this work, in my opinion, and on the other, I will say that Sakamoto has been on a not-so-fresh slope for some time now. All of this, fundamentally, is just to downplay, I hope more appropriately, the "epoch-making" significance of the album, without either malice or bombastic stances or protagonism. However, I sense a bad Manichean/reactionary odor when, being an "inhabitant" of Debaser, I might be considered "disinterested" in the object (referring to the reviewer's doubts). Even if that were the case, so what? Could it be that the object of desire described is truly negligible? Or does this mean that the sensitivity, intelligence, culture, and chicness of the reviewer are too "in" or "up" for the "common inhabitants" of the forum or the subject? I sincerely hope to be proven wrong on these last doubts by the reviewer with good arguments; as far as understanding the meaning and value and direction of love or infatuation goes, to conclude, I would prefer to address the topic in a separate "note," perhaps on another "site."

Undoubtedly one of the most advanced peaks of prog from those years in Italy. So advanced that they eventually got lost. I agree on the observations about the poor vocal timbre (a flaw unfortunately often present in Italian bands of that time). The classic cult album to be dusted off periodically. A somewhat "stiff" review, but acceptable.

Dear Strangler: read, understood, shared, fully approved (also with a stamp). See you soon!