odradek

I don't think your Italian is careless. But you're falling again: for me it’s not nonsense (nonsense is not an indecipherable term). Knowing the premises and the context of a work, in addition to listening to it in its entirety, is essential to make definitive judgments. Otherwise, one can limit oneself to subjective opinions and impressions. As I’ve already told you and must annoyingly repeat. I also believe that the "puppet" you mentioned has the right to reply; it seems really dishonest for a musician, as I understand you to be, to express such coarse and approximate opinions based on 90 seconds, about another musician. - Regarding the term factional war, it referred to a widespread practice that is part of a football-like way of understanding discussion. Unfortunately, it's often encountered here as well. And even a conversation that could have interesting developments can sometimes be used or transformed in that direction. Since it bothers me, I try to avoid it. That's all. We'll see each other elsewhere; here it seems we've said everything multiple times. Maybe I’ll have more to say after I’ve listened to the album. Bai.

Luca, I’ll finish up and then we’ll meet elsewhere, whoever you are or aren’t, since we’re just nicknames in front of a keyboard: It didn't seem nice to me to vent here about what you consider faults of your friend who suggested listens that you didn’t appreciate. Or go ahead, but let’s leave Neumann out of it, as we don’t know him. Come here, you vent, I’ll vent too and say how banal the work of some musicians so loved by some others is, we chat, we have a drink. But let’s not call anyone foolish or naive. A certain bitterness in what you say is quite evident, likely stemming from direct and concrete experiences, all very respectable. But I don’t understand why it should necessarily be part of a conversation on such difficult-to-define issues. It’s about conversation, an ancient practice that’s rather out of fashion, but not at all harmful. If, however, it becomes a war between factions, and you seek allies or fans, excuse me but I really don’t care. Have a good evening.

No, no paranoia. Luca, it seems to me that what I had to tell you, I've said right away, right? Going back to this page and in general to the premise for which I think it's better to discuss things in detail, the only consideration I felt compelled to make regarding the matter at hand (the samples I've heard) in response to ZiOn, is the following: It's sound - and then: - It's like entering into a sound fabric and being within its texture, magnified, like microbes in a cosmic space corresponding to an infinitesimal area of your t-shirt. - This is what I can say after reading Josi's interview and hearing the samples. I didn't allow myself to express judgments about people, about their powers of discernment, or to bring in musicians and artists to support some personal idea of mine. I only held you accountable for your words. The ones you wrote, and the tone you used when referring to, you, musicians, listeners, commentators, etc. - If you feel like it, reread it and then tell me if it’s not so. - I don't have an idea of Neumann's work, I know it too little. I'm interested in sound, and therefore I'm interested in this work. I will delve deeper when I have time.

Well, dear Luca, it doesn't seem to me that you are the only commentator on this page. Instead, it seems that I have directly expressed my point of view, and therefore I would refer to that. The last post I wrote seems understandable to me and does not involve either you in particular, nor madness, nor genius. I haven't talked about genius; I haven't even remotely evoked it. So it seems to be your fixation. Instead, I said that one cannot seriously speak about something they don't know; let alone give stone-cold and definitive judgments like the ones I’ve read here regarding a work that has been heard for 90 seconds. I also want to inform you that I really appreciate the use of samples in DeBaser, also for the reasons you mentioned, and in fact, I often annoy the reviewers by asking them to include them.

Hey, Josi, the notifications of continuous comments on your page indicate that, at least in part, the intent is being achieved. To give visibility to unusual productions and approaches to sound and see the effect it has. I still believe that taking advantage of a context, without being able to define it, and shifting and broadening the issues, as many of the subsequent posts have done, remains a way to avoid admitting that one cannot make such definitive judgments on things that are not even known, like the work of the musician in question. For now, I am waiting to receive the CD you mentioned, and perhaps we will talk about it again. In the meantime, I doubly appreciate your intent and look forward to listening and feeling something more. I leave the poor Fontana, Burri, Cage, forcefully brought onto this page, where they belong: in the history of 20th century art. C U on another planet.

This note (found online) is intriguing: Tropicalism......The metaphor, drawn from a cultural movement of the 1920s, was that of anthropophagism: the new trends coming from abroad should be devoured and assimilated, only to naturally flow into Brazil's artistic production.

It's a pity that so much elaborate analysis, seasoned with hasty judgments—stone-cold and sometimes offensive towards musicians and their listeners (dismissing Bowie in this way is not very different from the careless attitude and ultras criticized in others, defining his fans as naïve and vain is a great example of style and elegance)—is spent for this cause. It’s even amusing when it definitively decides that we are faced with a "composer and interpreter of absolute greatness." (?) But it is what it is: it seems to be a widespread habit to proceed through the denigration of others' tastes or listening preferences to elevate one's own to the rank of excellent quality. Perhaps it seems more entertaining? Perhaps one believes it to be somehow more effective? Regardless of the intent, it’s a method that I don’t like. Perhaps the painful misfortune of the recent electoral campaign resonates even on these pages. - Elton John… I fear I cannot share such enthusiasm. An artist who has garnered much more (in terms of popularity and money) than he has sown (in terms of quality and innovation) by virtue of the same image carousel that the review deemed a source of others' success. On this very page, there is a name that, indeed, deserves a little more space and visibility: Tom Robinson.

Always and only listen to yourself on the side, a collection is just what we need. Good recommendation, Giorgioladisa. And a special prize for participation in the Samples Campaign!

@ Giorgioladisa: no, the album is from 2006, at least that's what is written on the CD from Soul Jazz. The distribution by IRD ensures a fairly comprehensive coverage of the national territory. In the text, the names of Veloso and Tom Zè are links that lead to the reviews on DeB. I think this is a useful practice: if you talk about albums and musicians in DeB's archive, the reader can take a look with just a simple click. I had indeed read the review of Estuando and I believe I will at least get a listen.

@ Mauri: no, no store. A bit of curiosity, little money, and also a keen and passionate shopkeeper near the office - But to be honest, you joined DeBaser long after I did, and you've already written about twice as many pages as I have. You seem super active :)- As for the samples, I’m just sticking to my Campaign: it’s a very valid option to be able to include excerpts from the albums we’re talking about. I don’t understand why it’s used so rarely. - The wish for spring was also linked, and above all, to the deadline that awaits us: the ballots will tell us if it will be good or not...