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Ah, there you go, it seemed to me :D well, if he adored the Zappa/Wyatt/Buckley triptych, we're not talking about someone who hated technical musicians.

Beautiful shit, it had been ages since I last read it, I think I read it in some sort of encyclopedia of Italian progressive music in two parts. Do you, like Guccini, think Bertoncelli is a bit of a loser? :D I have to say that Stratos had a rather presumptuous attitude: here he treats Bertoncelli like a clueless fool. Sure, clarifications are fine, but treating him like someone who doesn’t understand a damn thing is a bit excessive, especially considering it was him who introduced Zappa-Buckley-Wyatt to Italy. Then again, I might be a pathetic idiot too, but indeed Megalopoli and Nevi scoperti are also my favorite tracks, while I have never liked "gioia e rivoluzione" (the retrograde pop he talks about). Then the "anger" discourse is a whole different story; you always throw in the punk bait, my dear. I could say that the albums by the Birthday Party, which borrow quite a bit from punk for example, have a sound that strips the skin off you for the ferocity they bring, and maybe they do it better than Capiozzo and friends, but those are just digressions...

Cazzy, do you like chaos? I didn’t know :DD for me they sometimes hung out with Cage a bit too much... I find their more extreme experiments like Chaos, or Stratos’s solo albums, or even Evaporazione (running up the stairs, Capiozzo shaving while whistling and "FIFTEEN! Fifteenth THE! We have...lost century) make me smile but I’m not crazy about them. But when it comes to nonsense, Harold Budd definitely outshone them :D

Well. I didn't say it's a bad album, and I do like sophisticated pop, but beyond the formal perfection, the aor (that's what it's called, right?) doesn't quite do it for me. In the genre, it’s definitely a must, but just to mention a couple of names that have done or are doing sophisticated pop, I prefer people like Joni Mitchell (see Court and Spark reviewed today), Marvin Gaye, or Phish, whom you also listen to, Massimof.

Hi Trelly, why don't you steal honey from the bear and send it to me?:DDDDD

mmm, mature and cynical, it intrigues me. However, the comparison with Fossati was first made by Gatti himself, as he has always declared great admiration for the singer-songwriter and mentions it practically in every interview: I also know very little about Fossati, but for what little I know, the comparison regarding the lyrics doesn't seem so out of place, and the voice is 100% Fossati-style. Anyway, I've already decided to listen to it; you've made me nostalgic. I also save certain things from Illumina, like Frozen W or Samsara, but the more ambitious pieces (according to Gatti), like Nebula and L'evoluzione dei pesci, feel weighed down by this somewhat mystical vision, and I didn't really like them.

Wyatt, when he was in solitude, end of an ear, he probably listened to that record a couple of times. Just a couple. Then the comparison with rock bottom doesn’t sit well with me; they are two amazing albums, but if one is in Alaska, the other is in Singapore, one is lyrical and the other isn’t. They are two different records; I might enjoy the game of deciding which one is better, but it doesn't apply here. It's a matter of tastes. For example, Antimo finds Alifib disgusting, while I like it a lot. However, I really like the comment about the peperonata; it captures the idea perfectly: someone who sits down for breakfast and starts eating peppers must rightly ask themselves, "What the hell am I doing?" and could just as well respond, "And why not?" This album makes you question a lot of things that previously seemed obvious. By the way, one Sunday morning around six, I had eaten meatballs in sauce with onions.

It's clear that this album divides opinions: as a fan of free jazz (which sounds cool like admitting you have leprosy), I love this album. There was a discussion recently about "brick albums": this is an album that "un-bricks" itself with every listen, and it's also more varied than it might initially appear; many tracks are pure fun, like the hilarious "Veteran's Day Poppy," "Hobo Chang Ba" with its goofy vocals, "When Big Joan Sets Up," "Moonlight on Vermont," or "Ella Guru." Let's say that those who adore traditional harmony and think it should be the absolute measure will definitely not appreciate this album, which, along with certain works by Ayler and Sun Ra (and indeed, the Arkestra and the Magic Band shared a period of "exile" living together), stands as one of the most instinctive and chaotic records of the era. Regarding what you say about Waits: yes and no, I’ll venture a thought: yes because Waits takes a lot from Beefheart, but he uses it to create more accessible things, little songs (bear with me) with the limitations of those songs; no because those songs are often arranged and constructed with a perfection that's hard to approach, and Beefheart certainly didn't have Waits' musical knowledge, who is much more erudite (not cultured). Nonetheless, the fact remains that this album has influenced two hundred million bands, and even the theme song of Primus in South Park. I'll go back to voting now.

meet me at Monte Spada, go.

truly beautiful album, very refined and relaxed, got it thanks to Luk's great tip. Beneath the Undertow, if it weren't for the bass, would be pure Miles; it reminds me of Filles de Kilimanjaro. Prince Namor is very, very beautiful; I agree with the quote from In a Silent Way, and the Jeteè that picks up the theme from Jetty by Tortoise. I would even say that this album resembles Tnt quite a bit: beautiful, beautiful.