odradek

I'm listening to it again, 35 years after the first time, and I confirm: it’s a gem.
And this review truly lives up to that.
@[JakeChambers] In case you receive a notification, a virtual but vigorous handshake.

This page is written excellently, it fits perfectly.
Drupi is undisputed.
The piece, what can I say: those who weren't there, what do they know...

I think I got it, more or less.
In fact, while listening to the album, I found what I expected after reading the review.
Not bad, they definitely know what they're doing and they're not plastic, but I think I see it as Festwca.
The illustrator who created the cover did a great job. (Can we still say cover?)

Well.
However, you'll need to focus on other subjects: this one, lazily, has been dead for a while!
What cowardice, what shamelessness!

Yes, but the truly unexpected album was the one with Trilok Gurtu (Miles Gurtu - 2004), which is definitely more interesting, for my tastes, even though it’s not a great album and comes off as a bit uncertain and not very innovative. But in the best moments, the combination of machines and percussion is quite successful. If you’re not familiar with it, I recommend it, especially for the anomaly it represents.

There's an interesting part that I discovered not long ago (thanks to Radio3, it seems) in the romantic and artistic partnership between Bley and Peacock. In the 1960s, during an interview, Bley learned, through the journalist who was interviewing him, about the existence of keyboard synthesizers. He investigated the matter and got in touch with Mr. Moog, managing to convince him, also thanks to his established fame as a pianist, to part with a prototype of the first keyboard synthesizer. He and Annette spent months working together, initially decoding the simplest commands of the machine (of which they obviously knew nothing, first of all how to turn it on!) and then creating a system of commands and sequences that would allow various sound modulations and control of the possible variables. I believe I remember that they also created a pedalboard with 12 pedals, which seems like a monstrous solution to me, but at the time evidently seemed indispensable to them.
During the broadcast on Radio3, they played a couple of tracks born from the early stages of their experimentation, and I must say that listening generates tenderness, such is the rawness of certain sounds, sometimes similar to a dead Buontempi...

I'm not worried at all, let alone think I need to tease you. You do everything perfectly, classically. But now enough, you're right, or I'll end up getting infatuated.

Excuse my intrusion, gentlemen, but I must send a letter to the music lover in this space, as his hatred prevents me from approaching him directly:
@[Ilovemusic] Really? You hated me? What a compliment, hatred is a strong feeling, I am sincerely grateful to you for that.
Sorry for not returning the favor, I have little familiarity with hatred, I understand disdain but it seems wasted to me.
Be happy, and enjoy your life.

Never felt anything.
The video clip isn't bad, but nothing that could make me fall in love (there's really very little that could).
I'll still listen to the album; so much praise deserves a chance.

Well, sometimes you also like good music... 😉