odradek

There's little funk in Debaser. And that's not good. I also prefer other records by F., but this is still a nice taste. So, good call on the recommendation.

Okay, thank you. Tempted? My boy, I guess they don't just give them away...

Josi, regarding La Rocca, I imagine you've seen the paintings, not just reproduced (I believe they are from Cannaviello's stable) in some Milanese exhibition. Do they maintain the hyper-realistic quality that you see in the photos (I've only seen them in reproductions in magazines, and being large in size, when reduced they often end up looking very "photographic") or are they more "grainy," less "refined"? - Sorry for the painting aside...

But more than manipulation, which is a secondary concept and generates immediate associations with trends that are so fashionable today, I would shift the focus to the concept of "corruption" (of the body, the mind, the "social" fabric). Corruption that is sometimes generated by the intrusion of "external" factors but often also proceeds from within, as degeneration, paradox, and extreme consequence of existing impulses. I’ll stop here because I’m feeling the symptoms of a cinephile syndrome that can produce logorrheic delirium. Bai bai

Pretazzo, "Inseparabili" is, indeed, a masterpiece. And "Spider" has brought C.'s work back to an exceptionally high level. M. Butterfly is, in my opinion, one of his least successful films. I haven't seen the latest one, but I've read and heard rather negative opinions. I will definitely watch it, because Cronenberg, despite the ups and downs that are an integral part of his journey, remains one of the most interesting directors of the last 30 years. - Your comparison to the Chrome is interesting and quite fitting, especially for Cronenberg's early work. Let's say up until Videodrome... If you haven't seen them yet, get your hands on his very first films, which are Spartan and "naive" but very significant (Crimes of The Future, for example...).

Be kind, first of all to yourselves. It’s not the first time, and I fear it won’t be the last. But it beats them all. Leave this record alone: what wrong has it done to you? Why do you keep inflicting this torture, who assigned you this homework? Wasn’t there really anything you knew better? Nothing that you happened to FEEL? Because you couldn’t have felt this (I’m not saying listened to it) It can’t be true…

Wow, Pretazzo, what a juicy post. I was re-listening to the album and took a look at DeB. One of the few by Ege that I hadn’t read, probably influenced by the "shyness" of Talk Talk. I see in the comments that two years ago, as still a few months ago, the solo album by Hollis –beautiful– was deemed untraceable, while today it is available at a nice price in any reasonably stocked store. I agree with your perspective, Pretazzo, on the album and the "placement" of the band. – It’s raining here. – Bye, Ege.

I only know him through collaborations, including those with Eliane Elias, in addition to the ones already mentioned. You need to finish it, damn you! Instead of a belated curse, consider yourself another early thank you. The telepathic one will take a little longer. Bai.

I was saying Symbad, indeed, that I liked you also for that type of approach that can be inferred from the comparison. I see, however, that there is agreement among those who know you in appreciating this album. Bai bai.

As I mentioned to you, dear Hal, I took a very quick glance at your page as soon as it went live on the homepage, promising myself to read it while listening to this interpretation by A.B. Michelangeli, which I still don't have. I then joined a discussion that had long since departed from the original theme, veering towards related issues, getting lost in the coils of my own doubts. I therefore greatly appreciate this lengthy post of yours, and the informal kindness of responding to all the DePassanti, bringing the gaze back to the original perspective on the work. I conclude by thanking you for this review, which deserves to be among the most recommended for the quality of your writing and your ability to create space, without sacrificing your personal vision, for Mann's perfect prose (with a touch of Adorno). But also (and this is no less true) for this post, which seems almost heroic to me, in setting an example. Thank you.