antoniodeste

I, who do not know the first MR production, side with Dune Buggy. A simple, instinctive review that clearly outlines the movements of the work and easily identifies its weak moments. It’s a pleasant album, sometimes excessively “triumphalistic,” but it shows good harmonic and melodic balances. Meticulously crafted arrangements. Last night, even with a friend, we even spotted (drunken visions?) traces of the Beatles; who had, (even if it doesn't matter at all) the best Tears For Fears as well.

So, guys, enlighten me. After reading some statements from Steve Wilson, I picked up "Secret Migration" by Mercury Rev, and although it's not a "stellar" album, it seems well-played, harmonious, pleasant, and... yes, it also has a sufficient dose of originality. However, I read, but I’m a novice in this matter, I emphasize, that their "gems" are elsewhere. Would anyone like to shed more light on what to do? Thanx :))

For Fischerle: once again, I find myself in agreement with the points you've raised. Your considerations are relevant, and the doubts you express are more than legitimate regarding the "label" ideally to be placed on the work (assuming that still makes sense both in this context and as a practice, in general). I want to clarify, Fischerle, that the work does indeed penetrate the reader. (Just yesterday, for instance, it delighted me). It’s just that it literally "struggles" because the, if I may say, "pseudo-lyrical" aspect isn't all that exciting for me. At the moment, and this is purely indicative, I’m listening to, in no particular order, Ry Cooder, Sigur Ròs, Mercury Rev, Fairport Convention, Hatfield & The North, and last but not least, a beautiful work by an "ambient" keyboardist from Rome named Stefano Panunzi, who has just released "Timelines" featuring "excellent" guests (Gavin Harrison, Mike Applebaum, Mick Karn, among others) for a courageous label from Treviso, RES. These things, though they represent just a tiny glimpse, believe me, along with "Ca Ira," make up my small contemporary and provisional sonic universe. What about you? Regards :)

Well, thanks to JOP for "the right starting point" regarding Oldham, and I take this opportunity to send a warm greeting. I'm also pleased to commend Stefanet for his inclinations and... intentions. I'll tell you that I would really read a nice review of "In the Fallin' Dark" or "Joy will find a way" with great interest. Actually, you know what? If you opt for other works by Cockburn, I'll give one of these two some thought. He is (was?) a very particular artist of the Canadian acoustic singer-songwriter scene of the '70s and really deserves at least a reassessment, doesn't he?

He talks about what matters when no one asked him... but who knows how he managed to recognize himself... (see "l'azzeccagarbugli" or "il terzo incomodo"). In any case, know-it-all, you had already given ample demonstrations of your cultured way of breaking with calculated foolishness and rudeness; there was no need to reiterate it. By now, those who read you already know.
And the "revealing pettiness," which I confirm in light of your last, enlightening, intervention, is precisely one of your peculiarities. Furthermore, regarding silly and useless (not to mention stupid) jabs, address them, and without courtesy, to another audience. Besides being pedantic, you’re also boring, Mr. "know-it-all." I ask you kindly: pursue your mother, or your girlfriend, or whoever you like. I’m sure they will tolerate your brilliant off-topic remarks. As for me, even though YOU wrote "leave me alone" or "I’m leaving you" (and by not doing so, you continue to irritate me, forcing me to treat you for what you are (......)), I’m finally "leaving you," with a nice sigh: Another bother has passed to annoy someone else. I’ve met so many, really, in my life; you are in the top ten. Congratulations. And... many... many wishes (especially to the unfortunate victims in real life). Don't worry, you will have NO MORE news from me, at least directly. Happy? And now, please, let me work, kid.

Ref. Francesco Giambersio: yes, indeed it would be time to put a stone on the history of the orchestra musicians; it wasn't the only attempt at the "classical meets pop group" fusion, and there have been even less encouraging examples in this "genre." So I suppose it would be appropriate to definitively shelve the matter, if only because it has been abundantly explored and, frankly, not that essential.

Always for the "corrector": persecutory delusions are a mentally concerning disorder. If you are young, think about it before it becomes socially dangerous.

Whoever you are, unknown, it is definitely you, the "professor." Remarkable, however, the anonymity and the revealing meticulousness.

I appreciate the sincere enthusiasm and respect Fischerle's well-considered viewpoint as an attentive listener. Indeed, they are "keys" to interpretation (or rather, listening) that are entirely valid and worthy of respect. They are presented with intelligence and sensitivity.
For my part, I haven't had the accompanying videos, footage, or interviews to support or strengthen my reception, which, let me clarify, was not at all negative, but rather filled with some doubts regarding the type of cultural-musical operation and its actual intrinsic value. Waters, it's redundant to say, is no fool and certainly deserves attention. Personally, I find that I struggle to introduce the work into my CD player frequently, as I prefer things of a different nature. But this is a matter that concerns only me and what, evidently, I feel like listening to more at this time. I await further additions, confirmations, and tours to reconsider this "experiment."

That one with the slightly chipped edge?