odradek

"Put the message in a box, put the box into your car, drive your car around the world..." - I didn't know it had been in the future Alarm, but I was aware of the past with the Waterboys (and I preferred This Is The Sea, I have very questionable tastes) - He's a nice guy, and about this album, which I listened to again not too long ago, I had thought about writing. I did well to abstain, you did an excellent job.

Oh my gosh. If Aunt gets carried away, good grief. In the safety of the den, it's just fine. Already forgiven, anyway. Regardless.

Great tip, Leonid. The Brick Testament is a nice find.

A vocation. A faith. A mission. Five reviews of Oldman, five of Grazia Di Michele. If it’s not the agent, the press officer, the lover, only faith or love (which, if unrequited, is one of the forms of faith) can justify such tireless promotional work. But what has generated it? What unfathomable mystery does this solo reviewer hide? (Does he listen to anything else? What?) I bow before such stubborn determination, which certainly deserves the highest score. But I can’t help but ask THE question: HOW many albums has the lady made?

For Kurt Rosenwinkel, the invitation, which had already been expressed on another occasion, I accepted. As far as it’s worth, it seemed to me to be a rich and very interesting album, even for someone like me, who rarely frequents certain "domains" and understands little about them. - While I was here, I reread Symbad's comments on Dyer's article (which I finally read), and I must confess that I adore that man more and more. Symbad, not Dyer, obviously.

I wrote the comment in a rush, and it probably comes across as contradictory and confusing. It should be read a bit slurred, to fit Enzo a little :) P.S. The page is beautiful; I’m looking for the album.

Mhhh. I'm not very aligned with your enthusiasm regarding Jannacci (and I wasn't at all regarding Bennato, even his "older" work, but I understood the spirit that motivated your review and didn't think it was worth opening a discussion that could probably go on forever). In the sense that he is certainly unique, and the final part of your review, regarding the sources, is perfect. But he is indeed a hybrid, a borderline figure between music and theater/cabaret. A great artist in an unfathomable yet quite empty space, more so in our context than elsewhere. What I've always liked about him is his nature, his surreal and distracted tone, that deeply painful melancholy disguised, and the gesture that is never definitive, never concluded, which resonated perfectly live (I also appreciate that "it splendidly goes to waste"). I definitely consider the first part of his career to be the most surprising and prolific, at times truly genius (certain linguistic inventions and also "phonetic" ones are adorable). I struggle to find traces of that in his output over the last twenty years, to the point that I haven't followed him anymore, perhaps missing out on some gems that he surely must have created (I've read the review of "Uomo a Metà"). Nevertheless, he remains a figure I really like. And I liked him a lot, live, a lifetime ago.

@Socrates: this time there are some doubles per track, but 3 or 4 tracks are missing. Well, the album isn't bad, rather "out of tune" but not lacking in substance. Very versatile. And also nice. Did you see the video? - @Kosmogabri: yeah, yeah, I saw it. It was a figure of speech...

I had read it, Kosmo, but I enjoyed rereading it. However, I didn't remember that the Rev had a hand in it, in the Woodoo Rhythm...

Strange, I hadn't commented, but it was already among my favorites. I had read it during the Kosmotour a few months ago. And it remains one of the most beautiful on the site: the story, your way of telling it, the spirit that runs through it, are elements that make it a gem. Here the writing is truly brilliant and effective, and despite your initial opinion, the reading is incredibly smooth. What more could one want? Well, to re/discover the Reverend behind the dead brothers!