antoniodeste

For those interested, it would be a good idea to see them live, where they unleash their entire electro-psychedelic vocation. There are a couple of things available on DVD. "Pomgmaster's ball," for example, is a good starting point.......

Great album. I didn't quite understand the mention of Zappa or Comus, which frankly, in my opinion, don't have much to do with it. It’s quite evident that Wynn and Seaweed draw from the Gong of Daevid Allen and Steve Hillage (who indeed has made a few appearances with them). That said, it's also true that their albums tend to sound a bit too similar. However, there are some peaks, and "Jurassic Shift" is undoubtedly one of them.

Well, Alka-Seltzer, for your information, Squire, was a popular digestif in the 70s... but I suppose you understood the point. When it comes to tastes, little can be done. I will just say that I understand the sense of melancholy (which I feel too... but also the exiled protagonists of the text...) in the intense "Exiles"; "Easy Money" is not among my favorites, although I don't dislike it, but let me look at you quite sternly when you talk about one of Fripp's GREAT masterpieces like that. Please, listen closely to "Talking Drum." It's a piece with a rigid, regular, obsessive, and squared structure (similar to "Mars"), and the very slow crescendo with the final explosion after fine chiseling, in my opinion, is one for the books. This is my humble impression, which of course carries no pretension. However, I suppose you should at least analyze in depth and with great care the content of this "characteristic" composition by Crimso.

A brilliant insight, there's no denying it. Jimmy Page must have spent sleepless nights in terror of being sued by Kubrick.

@squireisgod: as for "Larks": have you tried Alka Seltzer?...... Cheers!

Well, it’s nice that someone remembers them. I met them when I was about 9 years old, when my older brother (much older) was buying their 45s first and then Demis's discs. I usually preferred the B-sides of their 45s because I felt a bit more rock, but then I couldn't resist "I Want to Live," "The End Of The World," and all the rest. When Demis started his solo career, it was all about "We Shall Dance," "Forever and Ever," and "Fire & Ice," which I still have on 45. Then the guy went and ruined his reputation with some outrageous stuff, but by then he had already given his best, I believe. And we mustn't forget, of course, that the trio delivered to history that ultimate masterpiece that is seicentossessatasei (I write it in words because it feels strange in numbers...), a crystal-clear expression of the Great Creator Vangelis. I still dream, I admit, sometimes with those songs that somewhat marked my musical childhood. And they are truly great songs.

Well done, Elio. I'm with you. Go, Carmine. We're waiting.

I read the last 2 posts (the first one is from several months ago) and I would like to share a few thoughts. For the anonymous one, it will be enough to ask where the dissonances are, the "unhealthy demonic" references (as he sees them), and if he has at least read the (essential and prophetic) texts of Sinfield. If he wants to enjoy the wonders of natural harmonies in sync with music therapy, that's great, but what does it have to do with it? For Runner, it will be sufficient to share what he wrote because, for all those who want to see it as a masterpiece, it may not be for everyone in that way, and Emerson, indeed, was a bit too verbose, owing to a background where, de facto, the only true soloist was him. Regards.

I sincerely thank Fosca for her very kind (and undeserved) words of appreciation towards me. The same goes for me regarding you (or it used to, when I read you more often some time ago). I leave it to those who want to pry to have the opportunity to make jokes about this matter if and when they wish. I read the latest posts about the film and frankly, I don't find much of interest. Dramatically lacking is the point (or focal points) in favor of highlighting mostly secondary moments that I suspect are being elevated to crucial parts in the absence of better arguments. It is also, in my opinion, unfair and out of place to describe Ferrari's performance as "colorless" (it might be anything but colorless!). I have never been a huge fan of this actress (in fact!), but it is likely that the recognition she received in Venice saw something that I too saw and perceived.
I conclude by thanking the reviewer once again for the additional emphasis on certain aspects of male/female universes. Illuminating and convincing. Regards to Fosca and eletto1987. A big question mark regarding the intervention of the man from the back door.

Sorry Morningstar: Just out of curiosity, what exactly makes you fall asleep during this film, apart from the slow sequence of the rotating space station underscored by Johann Strauss's Blue Danube? If possible, I would prefer not to receive answers like: "everything else." Thank you.