odradek

@Contemplation: as an old connoisseur (and once a devoted fan) of Mertens, besides the aforementioned, all valid (among which Maximizing is perhaps the most "important" and Struggle For Pleasure the most "pleasant"), you would probably also appreciate "Motives For Writing". It would be interesting to start from the album "Vergessen", released under the name "Soft Verdict" during the height of the new wave era, then reissued under his own name, and from there trace back to understand its evolution. With a background in classical studies, he was a collaborator for a Belgian radio station, and the first things he published were experiments with video game sounds and a trio project with two American musicians, the shy and friendly Peter Gordon and Peter Principle from Tuxedomoon. It's worth noting that the titles posted are all old: but his production is very extensive, and if you wanted, you could also find more obscure but equally interesting titles. The most recent albums I've listened to show him grappling, with mixed results, with larger ensembles and a writing style freed from the formulas of lyrical/romantic "minimalism," which had been his most recognizable trait, granting him a certain fortune. One last note: when he occasionally ventures into singing, the timbre of his countertenor can sometimes come across as "quirky," to use a generous euphemism. - Besides being undeniably important in the landscape of certain European music positioned at the boundary between "classical/avant-garde" and "popular" accessibility, he is a person of great sensitivity and kindness. In short, I held him dear, Vim. Investigate, and then write a few lines (perhaps about an unreviewed album). Greetings and kisses.

@Purpulan: a young fellow like me, then... - I've been wanting to see this Palindromi for a while, now I'm looking for it.

@Spleen: it seems to me that you were addressing me. However, if I had to listen to the complete discography of those whom I didn't find interesting after some listens over the years, solely to grant myself a highly personal judgment on what I perceive as a talent, I would be left with pitiful scraps of the little time I have, insufficient to listen to what I enjoy the most. It's not feasible. I will remain of my opinion (that is, of a widely disappointed talent, with rare examples of quality), and this does not exclude that I listen to this blessed album, already pointed out by the little reviewer, by the way. Then a small note: one thing I can hardly tolerate is the (and the abuse of) deplorable use of already unbearable terms: that "artist" instead of singer linked not only to Madam Ornella but also to the other two (whom I assume you wanted to designate as fake) reinforces my opinion that the only connotation of the word I can tolerate is the circus one. Anyway, thank you for explaining to me what I should notice and how: I wouldn't have known what experimentation is if it weren't for you and your keen post. Regards - @l virgulto Primiballi: I heard Conte sing that song about fifteen years ago at a concert in Settimo Torinese, if I remember correctly, accompanied by a "band," perhaps from Asti, I don't recall. In truth, I haven't found any version in his discography... P.S. I also did my military service (not three years, but I did the CAR in Cuneo) and when I was "old" I never had a cot made for me (and I never made one even when I first arrived). I wasn’t claiming "seniority," it surprised me that a young man like you would dream of senility...

Goodness gracious, Mister Sphascia, I never would have imagined that you would enjoy the kaleidoscopic pop of the young lad. You surprise me unexpectedly!

Well, it's interesting to compare two different perspectives, one male and the other female, of this film. I managed to find and watch it after reading Alfo's lovely review, and I thought it was a good piece of work. I see that Purpulan seems to have very clear and definite ideas about the qualities of the director (and American cinema as a whole); I will look for other films by this young man. The little page is delightful.

Ah, thanks to the Count: I took note too :))

Well, Melissa, it couldn't be better... I'm glad that during my absence the dizzying Contempl/a/zione came first, followed by the multifaceted SuperSoul: they are definitely more prepared and reliable than I am (it's not flattery, it's the truth, I'm fickle and have uncertain tastes) - I was surprised that you found some affinity between Sickoaks and Pat Metheny: those Swedish youngsters sound completely different to my ears... Anyway, still sticking to the little pages I've written, I allow myself a tiny jazz contribution, and it’s the formidable (and in some ways surprising) album by Michel Portal "Minneapolis," where he plays with Prince's rhythm section. You’ll also find plenty of samples there, so you’ll get an idea. And then, at this moment, I remembered a very tasty one: "The Blues And The Abstract Truth" by Oliver Nelson. Download it and enjoy it. Actually, now that I’m heading home... But the last piece of advice I would give to anyone wanting to indulge in wonderful and frigid pain is my beloved Lennie Tristano, every note he played. I decided not to write about him, I made a vow a long time ago. But someone in DeB has done it, and well. - I'm going back to my lair, bye bye.

Fusì, read the DePosta (DePorre an email, de posta... miiii, how witty I am!)

You explained yourself perfectly; it's still quite surprising to me that his records "reach" a young person like you, with all their emotional weight, despite the time that has passed since then, despite the huge transformations that have occurred, even in the approach to music, in the way of looking at things, especially for the new generations. Cute that "eheh odradek..." - :))

Jake, stop by here too: link rotto the usual spaces that form) and listen to a bit of the producer, Joe Henry, whom I mention in the text; maybe you’ll be more into him. These are tracks from an old album. His last three albums are really beautiful, and there are great recs in DeB. Ciao.