antoniodeste

I tried to get through the entire sheet, but I just couldn't manage it. The author seems pretty determined and badass, though. I know the group only because Steven Wilson (just like in the case of Opeth and Mars Volta) mentioned them, and I found it intriguing. I'm also curious about an explicit opinion from Puntini, Larrok, and Purpulan regarding the tone of the album and the band, whom I greet with a little wave.

I would say that once again I'm in the vicinity of Larrok. Maybe "On The Sunday..." doesn't drive me crazy and I definitely prefer "Signify" much more; regarding Harrison, it's true that he was a session musician (highly sought after for his style, precision, power, and superb technique) but it seems that he has "settled down" with Wilson. I mean that if we exclude the Dyzrhytmia episode (a very short-lived group from three decades ago), Wilson is providing him with a stable haven. Over time, listening again to Maitland, with his elastic and imaginative drumming, a bit of nostalgia tends to surface, but Harrison is still just fine. I just find this album characterized by a somewhat "cold" and detached sound.

I read comment 28 with a certain embarrassment. What leaves me perplexed is the pompous and lecturing tone of the intervention. One seems to want to demonstrate with almost mathematical certainty the exceptional nature of the value of something rather than something else. "superior even to moonlight shadow.." - as if this title should represent the pinnacle of musical creativity; if that's the case, it’s not clear at what level and in what historical perspective; "all fans of OLDFIELD (the real ones!!)" - I didn’t understand: do non-real fans of certain musicians exist?; - "One must be very careful when talking about schifezze.. :-) maybe in the 2000s the term is quite correct in some cases..." : I would like to understand on what criteria one verifies the cases in which one can or cannot "talk about schifezze"; it is still unclear why the "term" (schifezze) should be quite correct, if I understood correctly, in the 2000s and not, perhaps, even in other periods, which is more than plausible. -" So regarding the '90s, more than heaven's open, which he wrote just to close with Virgin, one should remember this...". Skipping over the syntactic form, it might be worth noting a justification that is truly hard to sustain. What does it mean "He wrote it just to close with Virgin"? That if it’s a "schifezza," he will still be responsible for it? That because he had contractual difficulties this authorized him to publish something of dubious value (and the "real" fans were embarrassed by the episode?). I suppose it’s a very thorny subject and susceptible to controversy. Certainly, Oldfield's light and repetitive vein - the endless versions, modifications, updates, reissues, episodes of "Tubular Bells," for example - has positioned him, in the wake of the early career chapters, on a secure and pleasant ground of "light" music, carefree and enjoyable as long as you want, perhaps with some exceptions ("Guitars," to name one) but nothing more.

No, let's not hide it.

Shit you are and shit you remain.

It's truly unfortunate that Rod Argent never reached great heights of popularity, neither with The Zombies nor with Argent, except for a few brief periods. Even after forty years, as reinforced by the fortieth-anniversary live edition, "Odessey And Oracle" proves to be a fresh and beautifully naïve work that captures a very precise moment in music history. The note on Missing referencing the Bard is curious, even though something that could have better framed the group and the work could probably have been done.

In my opinion, the so-called initial trilogy of Oldfield ("Tubular Bells" - "Hergest Ridge" - "Ommadawn"), with some extension towards "Incantations," perhaps constitutes the most complete and convincing expression of the English artist. "Ommadawn," in particular, manages to be more balanced than its predecessors, even though it lacks the insights and illuminations typical of his debut work. I also believe that Jabula represents an ensemble of percussionists and not a single musician, and that it's somewhat reductive and inappropriate to define the well-known "stupid" motif – (even though I understand the sentiment behind the statement) "The Sailor's Hornpipe," which is nothing more than a piece of Anglo-Saxon folk history, included perhaps precisely to lighten the mood and close the work with a smile. Overall, a pleasant and "inviting" write-up.

I join (just to change things up) Larrok on the issue of "writing and/or reading reviews." If no one wrote them, who could read what? Despite the obviousness of the matter, I also invite XYZ to write something "alternative" to the "usual stuff." I suppose it would be truly appreciated.

I am now reading the latest comments. On one hand, I would say that Marcos depicts a truly bleak and depressing scenario which I can unfortunately fully agree with. On the other hand, I would also invite the reviewer to respond to the question posed by Den Vlaams at the end of his comment. Perhaps we would gain more insight into the beliefs of the person who wrote this review and understand which "human values" their existence is founded upon.

"but please keep on displaying your idiocy: keep posting!!!!" Go on, go on.