Pietro Minchiadura

What a disconnected period! Damn, you pissed me off! When you mess around, you drive me crazy! But what do the Faust have to do with it? I had missed this gem. But in Faust IV, they reach a theorization of psychedelic rock with an imaginative power unmatched! Way beyond Faust I. There's even the manifesto of krautrock and a constant stroke of genius. And Jennifer, stop being a drag: the defibrillator. I feel like I'm in the recovery room just steps away from dying when I hear that initial bass.

Uhm, but what the hell took the password from your nickname? Please. Be more objective. Aside from the fact that I still don’t understand what this comparison with DSOTM has to do with anything, at this point, I could throw back at you how you celebrate massive crap like Eskimo and Trout Mask, but please, this discussion has already happened, and I concluded with my supreme paternalism and sense of humility that you have horrendous tastes. I mean: what does it have to do with anything? I don’t know, anyway, we’re in this together, so let’s dance. You’re saying nothing but what I’ve already said: they are overlapping. Which is the same as your phrase "between candies and confetti," and remember that I still downsized saying that the work is hybrid and there’s still that groovy tripper in Empire State. But all those gay horn sounds… brrrrr! Come on, we’re light-years away from Yerself is steam. There, there were two and a half horns: it was all distorted screeching, mind-numbing sex, drugs, and rock 'n' roll at full blast. Tracks averaging 8 minutes, and a stuttering whistling on the chorus of Black and Blue. Let’s not even talk about that supermenatone from a stoned post-hippy that is Very Sleepy Rivers. It’s light-years away. And be careful: don’t take it out of context. Listen to this record for the first time, with those vintage horns, the little voice, the psychedelic guitar riffs à la early Pink Floyd, indeed. If anything, this is the granddad of rock 'n' roll. It seems like a record from the '60s to me. Which is partly intentional from Grasshopper and company, so from here to taking DSOTM and calling it granddad compared to this, there’s a lot to say...! But then listen to it. Go have a shower of modern drama listening to The Great Gig in The Sky: this doesn’t sound like the '60s, nor the '70s, nor the '80s, nor the '90s, nor the 2000s. This sounds ALWAYS. More than this bricolage of vintage sketches.

But how caustic you are tonight. And they scruff, because the comparison between Pink Floyd and these guys is made precisely by the old baluba. And speaking of this very album. But in my opinion, we’re not there. From the pifferaio to Dark Side, the PF developed a new language, no longer psychedelic, but far from being popular. I mean, how can anyone think, even minimally, of "Time" as a pop song? Of "The Great Gig in the Sky," of "Brain Damage," and the orgasmic ending of "Eclipse." Of course, you can't say they’ve gone soft. These guys definitely have, and quite a bit. But what does gay charm have to do with it? In "Yerself" they weren’t remotely gay. Not at all. It’s from "Boces" that the choir style baba yaga kicks in. And it's not a matter of better or worse pieces for me: they turned soft, started writing little songs, and I got pissed off. Incredible regression. Therefore, I allow myself to say democratically that your tastes suck.

Ah, here we are at last! Franco's biggest misstep in his life (musical career). What a poorly put together album. The disaster comes with the lieder: unconvincing interpretations, approximate pronunciations, and hasty cuts to the surplus. But then... were they really necessary? Regarding the 4 pieces: here and there some trivialization in the title track, but above all, a lot of predictable controversy in Povera Patria, an overrated piece by those who sought to find in this episode a cry of protest during a "dense" time like the 90s. Musical depth that is not exactly forward-thinking; "L'Ombra della luce" and "Le Sacre sinfonie" are the only redeeming elements. Note: the title is not derived from the words of a Persian mystic, but from an expression by an Arab geographer who, at the court of Federico (I don’t remember which ruler), lamented the difficulty of not being able to find an adequate language to express himself and therefore felt limited "like a camel in a gutter."

Here they've already gone and messed things up badly. What a shame. As the grim guy up there says, Empire and Racing are barely staying afloat, but Chasing a Bee, Frittering, Sweet Odissee are from another planet. They started off with mind-blowing, lysergic trips, and within a couple of seasons, they became dull. Boces had already shown signs of weak homo vibes, and here the situation is evident. There’s still a bit of orgiastic chaos in a couple of tracks, but some moments are truly disconcerting. Whether it's better than Deserter's, I don’t know: that one is a perfect gay manifesto, neat and tidy in its mannerism, this is hybrid. It's needless to say that within a few years they would have reached small horror shops like The Secret Migration. One of the most rapid and embarrassing evolutions in music history: from the stars (Yerself is steam is, in my opinion, one of the essential titles of the ‘90s) to the stables. Luckily, the immense psychedelic reel of the Chemists has little to do with these MR.

Giuò, but where are you in the story? You're not the one on the sidewalk, right? You're the one with your legs crossed, right?

Exactly, Bre, Kraftwerk made an unbelievable about-face in "The Mix." They went from a sort of pseudo-celebration of radioactive culture to a post-Chernobyl condemnation. This album is truly vintage, slightly disconnected but with a few highlights (besides the title track, Radioland, and Airwaves).

Mertens, for goodness' sake!

Here you go!

Ah, I got you! I have "Tycho Brahe," which seems to be among the best along with this one. Refined and cultured, these French people; I’d be curious to know how the latest one is. And to read a review of Tycho here on deb, floydaccio.