ajejebrazorf

I am ignorant

Dear Riina, you know that I am an admirer of yours, and if I have to judge the lines I would give you a five, but if I judge what’s between the lines this time I’ll give you much less; you’ve written a bit too much about yourself: don’t send your thugs to bury me in concrete, we are, as you know, masters in ear-cutting. That said, nice proposal, even though you’re singing and playing for yourself, to quote I don’t know who, you’ve piqued my curiosity. When are you going to send me something illegally?

Well done, well done, well done, and again well done, I started laughing at the phrase "Hello, I'm the first to die" because it's so true, those clichés from the movies like the Eiffel Tower being visible from any room in Paris. Never seen it, but I know it's a cult classic, and such a review makes you really want to watch it, I'd say mission accomplished. Much better than Mereghetti.

Ah, my first purchase, my entry into the world of music... so many memories... ahhh... Ugly. I wonder what happened to that cassette. As far as I remember, it was the horrible Brighton Rock only (was that what it was called?). I can't stand Queen anymore, even though I promised to listen to Queen 2...

I add to the list, dear Pluto, noting with regret that it seems we're only two, Galas. You're absolutely right about the different approach, physical and expressionist I would say, of Serpenta compared to the metaphysical Monk (I've never heard ANYTHING about Joan la Barbara, when can we expect a review from you?), who instead does a tremendous job of subtraction, at least on the albums I have. Congratulations again, splendid review and truly very challenging "material" to critique.

I don't know, a bit of self-indulgence (like Steve Vai in his solos, or whatever)? Oh, I like vile and Catartica, and Marlene are good, but I prefer a sincere and seemingly simple lyric like Heroin. I have nothing against the literary quality of lyrics, but I don't like gratuitous displays of culture, and here I throw in the two illustrious citizens of Catania, Battiato and la Consoli... I hope you know them too! Have a good Sunday to you too k...

I don't know, also because I don't know what your friend is comparing them to: to me their music is quite sincere, especially because in certain tracks, like "inverno '85", on Lungo i bordi the desperation is authentic. Then again, as music (in my opinion, eh) there’s not much original, it’s a shameless citation of certain post-rock (like how skilled and cultured we are), but it's well done and Egle as a guitarist is truly talented. The one who really shows off to an indecent degree for me is Godano, who would be good if it wasn't so obvious from a mile away how much he enjoys using big words in every song...

the title of the song by Csi (which truly deserves a lot) is "nessuno fece nulla," freely adapted from a text by Nedzad Maksumic

I slipped up on the subjunctive...

I actually already sold the brain some time ago, however, I thank the defense for perfectly explaining the meaning of my sentence: for me, they are three honest groups because they have done worthy things, but none of the three can boast, I don't know, an "Emilia Paranoica", and I think I can say that with good reason, having the maximum volume of Stanze, Lungo i Bordi, Da qui, and Club Privè (the latter is a piece of junk, in my opinion), and besides "ballate per piccole iene" and the latest by Marlene, I have more or less everything from the other two groups as well.
I take this opportunity to say that perhaps Massimo Volume were the first to systematically do what they did (though I'm not too convinced), but I would like to remember that there is a certain "The Gift" from the second Velvet album that did those things 30 years earlier, and there are also illustrious precedents in Italy: the CCCP of 'live in Punkow' did very similar things in some songs (U.N. is the first that comes to mind), but many CCCP songs are practically recited (Stati di agitazione could be a good example?), and Ferretti has always shown he could give the classic beer to Clementi with a stunning piece whose name I can't remember, dedicated to the war on "Noi non ci saremo, Vol2", which is worth more than anything the good Mimì has ever done. Ah, among the precedents of Massimo Volume, how can we not mention in relation to reciting over music the classic "T'appartengo" by Ambra Angiolini: T'appartengo ed io ci tengo E se prometto poi mantengo M'appartieni e se ci tieni Tu prometti e poi mantieni...