Pietro Minchiadura

But did you kiss them yes or no? Schnell schnell: start from the top!

I repeat: I want a top-notch service, with bells on. And when you're done, as a dear old friend used to say, "kiss my lexicon," because you should feel honored to learn from me. Cultivate yourself.

No, that's Cross of Changes, and the piece is Return to Innocence! There’s "Sadness" in three parts, another piece used and abused. Anyway, you’re right, the more recent new-age is mistreated, as seen on De-B. As proof, I really know very little about Roach, completely overlooked here.

I’ll repeat: you can only kiss the hairs on my ass and take pleasure in having done so. Rock music? Who has only listened to rock music? And what have you listened to? Go take a bath in humility, big head: there are plenty of music circles where you can flaunt your stupid absolutist views. And remember next time to wipe your mouth and use the first person when you speak, because the world might just spare you from being told to go to hell, as I didn’t do out of kindness. And why do I still see you busy kissing my little hairs? Come on, wrap it up quickly.

It’s hard to find a more boastful representative than Mr. Kataklisma, one of those who would make even the most arrogant like Sgarbi and D'Agostino pale in comparison for presumption and affectation. But honestly, where did you pull this whole charade from? Who associated whom with what? You should go take a bath in humility and take care of that ailment in your eyes that prevents you from reading. Babbonatale said he prefers Mertens to Reich: that’s minimalism with soul, this one isn’t, according to him. And he even speaks in the first person, unlike the absolute and mediocre monologues of a taste god like you. Beware of talking about ignorance; this is minimalism, and so is Mertens': it may be trivialized, but if someone prefers one to the other, that's their own business. If you want, I can put it in writing: Reich's music is light-years away from Mertens', it has a historical importance that Mertens can only dream of. But if Babbonatale, Trelheim, and company like Struggle for Pleasure more, those are valid opinions based on the fact that both have been, albeit in totally different measures, minimalists. But let’s get back to the point, inflated ball. You have to kiss each hair on my backside one by one if I bring out Neu!, because it’s understood that I made an original comparison aimed at a select few. Not you, of course: you’re the usual little professor who reads one name next to another, does some math, draws a sum, and claims that one is a type of music and another is another. Who are you to say that my assessments are unfounded?

...but then you don't think like me! ;)

Here I would save "My Truth" (which refers to Victorialand) and "Essence" (à la Budd)

I, on the other hand, have the whole work! And with equal conviction, I state that Heaven or Las Vegas has, in my opinion, completed everything that Liz, Raymonde, and Guthrie could express in 15 years of honorable career. It started with the dark post-punk of Garlands, and from there to Treasure, the transition was not a painless one, passing through the bridge of Head over Heels, a perfect fusion of the band's post-punk soul and dream-pop (for example, compare "Five-ten-fiftyfold" and "Sugar Hiccup"); Treasure, whether you like it or not, is a milestone of the dream movement, Victorialand continues, exaggerating the sweet qualities of the previous album, along the same path; then, after the interlude with Budd, the still good Blue Bell Knoll, where Liz wonderfully goes crazy with her voice in Cico Buff and Carolyn's Fingers. From there everything becomes blurry, Liz imitates herself and Guthrie and Raymonde can do nothing that is different from pop songs. They become so ordinary that, listen, listen, Liz's words are understandable, a truly innovative case. Heaven or Las Vegas still has a few good episodes, then a couple of pop albums lacking vigor, lacking ideas. Indeed: knowing the entire body of work, one realizes how they have withered, how especially it is unthinkable to hope to find unique pieces in the latest works like "Pandora," "Lorelei," "Cico Buff," "Spooning good singing good." Here perhaps the paranoid "Half-Gifts" is saved, then really little else. Negligible.

A controversial work in the eyes and ears of those who can listen today. In my view, it is a peculiar study on rhythm, with some over-the-top episodes (the Pulses at the beginning and end), and a vague yet innovative taste for melody based on minimal variations in tone. It is, in every way, I believe, hardly digestible, deliberately cumbersome, and not infrequently staggering. What Reich did for chamber music was simultaneously done by Neu! for rock: these explorations are fundamental, the records remain auctoritates to study rather than simply enjoy (though enjoyment is not precluded for those who can digest them).

Hey, that’s a rarity, hold on to it tight, dude!