gabbox

Well done, Zion. However, they played their second chance quite well with Feels Closer (2006). These two are far from clueless. The nights that made the Fabric in London famous bore their signature. They are still among the best tech house DJs around. The album you reviewed is one of the ten most influential works in club culture. (4.5 for me)

Cold and ruthless analysis. However, in live performances, they couldn't condense all the evoked imagery. More due to a lack of means than a lack of ideas.

Comprehensive review for an important album. The amplified man on the cover is El Lissitzky. Architect, painter, photographer, and much more. A key figure of the Russian avant-garde, he is credited with the invention of modern graphics, photographic collage, and architecture as contemporary sculpture... In the discography of Clock DVA, just below Buried Dreams, lies Digital Soundtrack, a perfect soundtrack for imaginary films.

I’m absorbing it with a summer’s delay. It changes little since it’s timeless music. Immobile and profoundly deep.

Mmmh Enea, what you are claiming seems far-fetched to me. The pop sentiment in disco music runs through the figure (mythological) of the DJ. The one who spins records makes people dance and have fun, not like the 4 from Düsseldorf who make you "think." People in the disco come together and create feelings and emotions (or at least they used to) through the display of bodies in motion (their own and those of others). And everything (or almost everything) depended on the sound they heard and who was playing it. Therefore, the POP sentiment was created by FatBoy Slim because he made people move their butts, and it was generated by the media hype. What derives from Kraftwerk and trickles down to Clock, Cabaret et similia is a cultivated sentiment that sublimates into a desire for exploration and depth, to which dance music is almost completely indifferent.

Mmmh Enea, what you are claiming seems far-fetched to me. The pop sentiment in disco music runs through the figure (mythological) of the DJ. The one who spins records makes people dance and have fun, not like the 4 from Düsseldorf who make you "think." People in the disco come together and create feelings and emotions (or at least they used to) through the display of bodies in motion (their own and those of others). And everything (or almost everything) depended on the sound they heard and who was playing it. Therefore, the POP sentiment was created by FatBoy Slim because he made people move their butts, and it was generated by the media hype. What derives from Kraftwerk and trickles down to Clock, Cabaret et similia is a cultivated sentiment that sublimates into a desire for exploration and depth, to which dance music is almost completely indifferent.

Mmmh Enea, what you are claiming seems far-fetched to me. The pop sentiment in disco music runs through the figure (mythological) of the DJ. The one who spins records makes people dance and have fun, not like the 4 from Düsseldorf who make you "think." People in the disco come together and create feelings and emotions (or at least they used to) through the display of bodies in motion (their own and those of others). And everything (or almost everything) depended on the sound they heard and who was playing it. Therefore, the POP sentiment was created by FatBoy Slim because he made people move their butts, and it was generated by the media hype. What derives from Kraftwerk and trickles down to Clock, Cabaret et similia is a cultivated sentiment that sublimates into a desire for exploration and depth, to which dance music is almost completely indifferent.

Who are you telling, Enea? I have absorbed (almost) all the simulacra of the '80s. It’s bitter that the Kraftwerk vector has dispersed into vague or underground directions (Clock DVA, for example). In short, the idea of narrating a world through sound art has shattered in the media agora that flattens everything. For this reason, when we think of them, we must look up or place our faith in the Raster Noton factory, where the legitimate post-cursor of their legacy, Carsten Nicolai, persists.

Scaruffi looks at the finger and not the moon. More than myth-busters, Kraftwerk were astronauts. They operated to create a new cosmogony of the musical (and social) universe. The myth of electronic culture, not just for dancing (and for getting high), is their legacy. This imagery has certainly become popular sentiment, but it hasn't developed. It has remained there, loaded with expectations. It has degenerated into clusters of sterile simulacra. The specter of the Apocalypse (the age of technology) has not stirred consciousness, and it won’t move at least ours. Let's hope it does for the next generations.

Masterpiece. In the eyes of those who want to "see" and not pre-judge. Del Toro, with a good dose of humility and talent, chooses the right tone and tells a wonder suspended between fantastic mythology and harsh historical reality. While waiting for the third piece not to be missed, also watch El Espinazo del Diablo, which, along with this, forms a trilogy destined to remain in the history of cinema.