odradek

Naaa, I can't do it. This right here is the maximum possible for me today. Come on, JOSI_, put it on deb, it deserves it.

Yes, Masakatsu is nice, but from the couple of albums I have, I would definitely say I prefer Susumu. He has a side that's even closer to "contemporary" (he has collaborated with Reich, I believe, or Glass, and I want to point out once again "Symbol," an excellent work of "reinterpretation" of the classical heritage). Katsuhiko Maeda is the one from World's End Girlfriend? I really like some of his albums; they're good.

Oh, Gabbox, it's really not bad... I have to listen to it again.

Ah, so it was rhetoric, the question, that I had written about Children... But if you click on my nickname now, besides "Thirteen," you'll find another album that I listened to yesterday. Maybe you'll like that one more. Bye.

Well, JOSI_, maybe paraparapààà-papparà I haven't quite heard it. Anyway, this album isn’t bad (the one with Gurtu is perhaps even better) but you won’t be tearing your hair out (you who have it). CiaU. - p.s. Maybe it’s better if I send you this: "At a quick first listen: not bad, some monotonous moments offset by remarkable 'frippertronic' inserts that are not at all cerebral and surprisingly energetic, which definitely makes it easier to enjoy. Needs further exploration." It's the micro-review of a distinguished DeUtente who, by clicking on my nickname, has tapped in and listened. I would trust him more than myself.

Hi, ZION. Nice straight, I knew the mentioned "Momentum" by Monolake and the latest (I believe) "Silence," which I liked quite a bit. I listened to this after reading you, so thanks, it's great listening. At this point, I'm also heading over to "Gravity." And then, as usual, I follow the breadcrumbs left by Pollicino Untitled, which often lead around space. Bye bye.

I gladly accept the sample of extrasystole but I undoubtedly decline the tasting of the chilling substance proposed in the link, esteemed Sphascia. - Proto-mantrici regards from Your devoted.

I ask for your forgiveness, but since I used the term, I thought your post was referring to me. In reality, this analytical attitude, this tendency to define priorities and connections, this prodigious exercise of memory and teaching, fascinates me on one hand (because it’s the same madness, given the proper proportions, that moved, for example, the encyclopedists) while on the other hand it gives me a sense of suffocation, because I fundamentally believe it to be vain and never truly responsive to objective and univocal criteria, in this sense nullifying its own nature from the start. And even if I wouldn't theorize it (I can't, I’m just passing through and I'm a bit tired too), I believe that so-called "experimentation" is not in itself a significant factor concerning music production. However, for me, it's not a discriminating factor that places the object in a better light or increases its "value." But it is a highly subjective and debatable viewpoint. - That said, appreciating the effort, I also acknowledge the quality of your contributions in an area of DeB that is quite underexplored, with pages that are enjoyable to read, even when they are a bit longer. Cheers.

@UNTILTED: "If one does not conceive the role of such a 'map,' they probably haven't read the page in its entirety!" Well, that's a rather presumptuous statement: allow me the liberty, having read the page in full, not to "not conceive" (for I don't understand the meaning of conception, despite the page being "pregnant" with content) but to express my doubts (of a personal nature, of course: "It's not for me, but I appreciate the effort" in summary) regarding the sense, even though I have understood it. Simply because it is not my way of seeing things. I hope that is allowed. Otherwise, I don't think I'll lose any sleep over it. Bye.

Straighten up, Gabbox, I'll get it right away. Hope everything is fine on your end. Bye.