odradek

Well, I've also read the comments. Why? I don't know: the review itself raises doubts due to the claims it contains, the description of the cover that seems to attribute some value of meaning and originality to it while not mentioning the evident "similarity" to the Beatles' work, and the overall sense (?) it seems to aim for. The users' attempt to find one, also thanks to the author's responses, seems doomed to failure. The "poetics" of adolescence doesn't strike me as that big burst of courage that is being marketed. And anyway, having surpassed that existential golden age (at least, one would imagine in terms of age), one could perhaps express a judgment with hindsight. The fact that these fine young men were a boon for the record industry doesn't seem to have been unknown to most (even if the idea that they stopped out of a desire to "mature on their own" is amusing). The philosopher's stone at their fingertips, however, is a truly interesting discovery. But I fear that a short circuit has been generated in the effects. They didn't transform things into gold with their touch, but, musically speaking, into organic substance, generally unappealing but, properly and carefully packaged, very pleasing to the audience for whom it was intended.

@MegafuzzuAntmo: I immediately went to see it, the really awful site of Belew. And I listened to a sample. It's always him, it seems to me. You know what? What a coincidence, after you wrote @Copernico: hi, long time no see! You must have news about it, right? I imagine you’ve been following Belew’s work. Do you know anything? (Settembre Musica has a great lineup as usual, but I think I’ll manage to catch all the appointments I want to attend. Are you going? Will you write some kind of report?) - @Aristarco: hi, we see each other from time to time. I'm about to get my hands on the latest album you reviewed. We'll catch up on yours as soon as I've listened to it.

In truth, over a decade ago, following the unexpected success of a record released, I believe, by Benedictine monks, a major label, hoping to replicate the sales, released "Vision," an electronic "new age" reinterpretation of the Hilde. This one by the young Swedes is more recent, and more "radical" in its treatment. Good evening, JoP.

Next week I'll share some samples of pieces from another interpretation (which I haven't gotten yet) of Hilde's songs. And a few from a record by a Swedish group that dares to immerse it in drum'n bass as well. It's an operation on the edge of blasphemy, but it could be intriguing...

Hey, Amalteo, we "meet again" every now and then! Everything good?

I just recently got America, shortly after reading the Godbowl review, and I find it amazing. Your description increases the chances that I’ll buy this one too.

And that's why I often extract at least 3 or 4 from such excerpts. This way, I have scattered details of the body of the piece :))

Comrade D'Alema, your contribution is always timely and well-documented, but I would have preferred Cyrillic. Regarding your statements about your acquaintance with the little prince, I would like to point out the possibility of accessing many tracks from the previous album (according to many, her best) for free and in full on the website of the former child prodigy. The first one will allow you to hear for yourself the evident influence. In that album, where the brass section of Sly & T.F:S. features, the meticulously crafted production is not everything: the structure of the tracks is more than decent, judging by what I overheard. Listening became almost necessary after I experienced a sort of shock upon reading the name of the young lady and recalling her appearances from the past. Therefore, Comrade D'Alema, I invite you to listen and report back based on what your attentive ears have perceived. I almost forgot: I don’t know about here, but in the previous album, in addition to writing the songs, playing, and singing, the little Nikka is also a producer. Regards from the Prague section.

The prodigy girl (brrrr...) who sparked some morbid thoughts in some and a dangerous spike in sugar levels in others, and whom Sfascia remembers, has grown up. And she doesn't hold back. I'm listening to the album from the website. The production is meticulously done: right from the start, from the first track, you can tell there’s some “association” with the little prince. Then there’s a touch of Lenny Kravitz, hints of new soul and rap, and funk. She even dares to feature the brass section of Sly and the Family Stone and collaborates with D'Angelo's manager. She produces and plays guitar and other instruments. A well-crafted product, listened to just like that. Much better than I would have expected from that little girl forced to showcase her delightful little voice in a sappy hit that made record executives happy. She hasn’t lacked the means (even financial) to put together a work that is at least formally of quality. I was very skeptical, to tell the truth, when reading the review. Certainly not full marks, but close enough to a 4, in its “category” of product.

northernsky, read the tracklist in the tab and explain the mystery to me, please...