odradek

Well, maybe they'll seem extravagant to you. Of course, if you stretch the meanings of the terms to the point of making them all-encompassing and devoid of meaning, you can find similarities everywhere, but I don't care. I know Richman's work very well (I started listening to him from the first album) and I also have some memories of Tav Falco. Even if I listened to them again, they would still seem very different to me. And I don't think I'm the only one who feels that way. So I don’t see why I should pay attention to someone who tells me to "listen again before making extravagant comments" instead of accepting the idea that others might see things differently from him. Bah...

Yes, perhaps it's more well-known than I thought, Thejargonking. And listening to it doesn't require any particular doses of bold courage... Just to provide some useful information for those who are at least a bit acquainted with Zorn's circle: in addition to Zorn, the album features Mike Patton, Trevon Dunn, and Joey Baron, who also appeared in the two previous, ugly albums (Moonchild and Astronome). Moreover, here we have Jamie Saft on organ, Ikue Mori, and also a choir of female voices. Inspired by the eccentric figure of Elagabalus (a Roman emperor who came to power through deceit, bisexual and a great fornicator, devoted to unrestrained orgies always accompanied by music), it is by far the best of the three albums in the "Moonchild" project and is sufficiently varied to be enjoyable even for those unfamiliar with Zorn's works. And it is certainly not among his most "disturbing." I give the album a score of 3.5.

True, Fusillo, it's not a thriller. It isn't because, as stated in the subtitle of the Italian edition of the GREAT novel by Dürrenmatt (from '58), it's "a requiem for the thriller." The film, which I saw in the cinema just after its release based on my distant reading of the book, is, all in all, successful. It doesn't attempt to recreate exactly the atmosphere that pervades the pages of the book, nor does it follow the plot, also shifting the setting (from Switzerland to... where was it filmed, Fusillo, you know?). However, it remains credible. The element I appreciated the most was the excellent direction of Nicholson by Penn: a very unusual, almost unprecedented register for the actor, dry and functional, perfect for supporting the narrative. I'd give the film almost a 4. The book is, of course, highly recommended.

The combination MogwayKronos works on the album (Mansell seems a bit self-standardized to me, but he undoubtedly knows how to write scores for images) I don’t know how much it relates to the film and maybe I don’t want to know, because I trust some pals who slammed it: after the emphatic drifts following the good "Il teorema del delirio" I feared the apotheosis... - Hi Addison, this time I don't share all your enthusiasm (album 3.5) but that's okay, as you teach me, the problems are others. Kisses.

I’ll download it today. It doesn’t seem right, with this cold, to “sweat” a record: the temperature swings and sweat can be harmful, especially for us older folks - I heard, back then, the one mentioned by Supersoul, but I don’t really remember it... Well, I’ll look for that too. Thanks, gentlemen.

I don't know; I don't think it would spark the same enthusiasm in me and, based on the musicians involved and the description of the pieces, I have serious doubts about whether it deserves a top rating. I will proceed with the download before any purchase (the guy with the stuck caps lock, whom I find everywhere, might buy it instead and let us know what he thinks). For Contemplazione, I recommend listening to Bollani's solo piano album on ECM. It's an intriguing and heterogeneous choice of repertoire with a unique "mood" in the performance, very valid.

I recently revisited it, The Devil in (downloaded from a friend involved in the barbaric practice) and I must admit some disappointment compared to my memory, mainly due to the rhythm and editing of the film (funny how it's precisely the editing in a movie like that...) Certainly the beginning, those long minutes with the monologue and the suicide in the bathtub, are anything but the paradigm of what porn would soon become. I have fond memories of People and Fantasy, by Damiano: less "seminal" (heh heh heh) but more effective... - To the overly excited gentleman writing in large letters: I don't know if you were referring to me, but I regularly purchased this record, as well as others by Ms. Marianne, on vinyl. You, who feel the need to shout your interesting opinion, what can you tell us about this? Which records would you like to discuss? We look forward to your contributions. Regards from a shooting enthusiast (not tug-of-war).

Indeed, the vinyl has gathered dust; I need to play it for a while... The next one isn't bad either, and the one from some time ago, with songs also credited to P.J. Harvey.

I did well to listen to you. If not exactly the re-ignition of an old flame (they were among my favorites in the early '80s), at least I didn't feel the sad sensation of a futile attempt at recycling that often accompanies many "returns." Your description of the first two tracks is perfect. I need to listen to the others again, but it seems you've hit the mark. Thank you.

Holy Wars was the last one I liked, even though it definitely didn't deserve 5 stars. If this one comes close in overall quality, I'll pick it up. Your description intrigued me. Thanks for the info and best regards.