antoniodeste

With all due respect to the reviewer and their memories, I take the liberty to say that a good portion of my best time has been spent, and I strive to spend it, with music that teaches me something. From these, ignorant as I am, I have never learned anything.

Absolutely unique group on the 70s scene and, in my opinion, difficult to "categorize" in a strictly prog sense. A very pleasant and well-written review of a dark, penetrating, and decidedly (like the entire Magma experience) original album. I would say that both "Mekanik" and "Kohntarkosz" offer a good view of Vander's transversal musical concept. I would also add their "Live," which I occasionally revisit due to its concert dimension.

.....but DGM stands for Discipline Global Mobile? :)) Nice review (the cover is nice too), I didn't know them. Well done Acqua!

Beautiful visionary and hallucinogenic review. Great hallucinogenic, visionary, and imaginative album.

Just a couple of clarifications: this live album did not appear, as the reviewer claims, after the albums he listed (which were followed by "La Valle dei templi" and "Non è poi così lontano"), but in the 90s, when the group had already been disbanded for a while. In fact, Perigeo never released live albums while they were active. Moreover, it is not correct to state that the group was "Roman" (last lines); Tommaso is Tuscan, Fasoli is Venetian, D'Andrea is Trentino, Sidney is "oriundo," and Biriaco, the only one, is Roman, although I recall he is originally Sicilian. Nothing important, of course, but just for the record...

@Wildthing: not to repay you with "courtesy", but I believe there is a lot of truth in what you wrote, so I support your point of view. Regarding the inevitability of the music business systems, however, one thing can be done: keep an eye out and, with a little attention, avoid buying the superfluous or the so-called "fetecchie". If successful, after a while, even the labels will stop saturating the market with mediocre or useless products (see the Doors). Of course, in this case, I also hope that at least the audio is good. Otherwise, I would add a torpedo...

I essentially agree with Paloz. The reading of the review piqued my curiosity because, after all, the magic and alchemy of his first three albums are hard to forget and, ultimately, one hopes that after a rather questionable later career, given the character's great talent, Oldfield might somehow "repent" and rediscover them. I can't know if that is the case here, but if the reviewer's words are reliable, there might be minimal chances of that happening. Certainly, credit must be given to mattet85 for having an uncommon spirit and poetic attitude, with a truly well-written and thus inviting review. Style is not something that can be invented overnight, and here, in my opinion, we have a good example of it...

Nice exchange of opinions between Psychopompe and Danverlaine; it reflects two actually quite close ways of listening to and conceiving certain things, even though with (rightly) different accents and perceptions. Beyond the totality of the things said, which I largely share from both sides (and not in contradiction), I am left only to resolve the doubt about the jazz component that, frankly, as a listener of jazz, I continue not to perceive clearly and/or distinctly. I mean (and I have already said) that not knowing the entire production of the group, I might miss something regarding this, but if I think about historical American jazz (Trane, Gillespie, Monk, Davis, Parker, Powell, Mingus, etc.), it doesn’t seem to me that I can catch any reference. It seems to me that we are really on a different path, indeed. Am I mistaken? Thank you for any clarifications.

Undoubtedly, if there are documents that can credibly provide new insights and listening experiences regarding Hendrix’s work, they are welcome. Although I’m not familiar with the specific work in question, I want to give credit to the impression the reviewer has had of it. At the same time, I feel it’s important to emphasize (as the reviewer indirectly mentions) that for those who DO not know Hendrix, it is crucial to refer primarily to the "official" materials (even if indeed there are few) published while the guitarist was still active. I suppose it is always better, in these cases, to follow a possibly chronological process after which one can add everything that can "complete the picture." When it comes to Hendrix, as is well known and as Brusko himself informs us, the sheer volume of publications (often of poor quality in the 70s/80s) can confuse, making a correct evaluation difficult. Fortunately, this does not seem to be the case…

I'm sorry I missed the "moment" when the review came out, and it seems to me that all the uproar triggered by the "style" of the reviewer has objectively gone a bit too far. It is important to note, however, how the album in question has been rated very positively in this review by those who had the chance to listen to it, follow the group's journey, and even by the same reviewer who, despite the "digressions," gave it the highest rating. "Genealogia," as well as "Abbiamo tutti....", is undoubtedly one of the happiest chapters of that period in the early '70s in Italy, where some musicians were trying to embrace the emerging European jazz-rock movement. There were also other remarkable examples in this regard, but Perigeo deserves credit for their professionalism, originality, and consistency in giving a jolt to the landscape of the Italian music scene, which at the time was almost exclusively dominated by rock, pararock, or singer-songwriter scenarios. Their dissolution, however, was inevitable, given the cultural poverty of our peninsula regarding jazz. The same fate befell all the groups or musicians who ventured into this challenging territory; but "Genealogia," in my opinion, remains a gem.