gabbox

I dared and gladly accept the reprimand. However, if I have to spend an excellence, I’d put it in Club Classics and not in Blue Line by Massive. Just to emphasize how much this album has influenced me.

The classic, I would dare say epoch-making, is the first. Class and elegance even in the videos. A collectible.

... moreover, they will have sought another musical breath, but where they gained in "tanguera" fascination, they lost in social content. The "militant" force of the first (think of tracks like "Capitalismo foraneo," "Queremos Paz," "Epoca") has almost disappeared. And I still find myself wondering: are they real or are they just pretending?

I admit the provocation, Hal. But posed in an interrogative form. And because I know the journey firsthand. In short, the two Frenchmen sought a formula that would make them recognizable in their reference area (lounge, electronic, jazzy). A bit like St. Germain. When they were called Boyz from Brazil, they offered (rather excellently) a blend of brazil-electro rhythms. Alas, with little success. They succeeded on the second attempt, contaminating themselves with tango, thanks in part to the pianist, who is indeed Argentine. A boom in success and a consequent tendency towards gigantism (ask the Italian promoter who won the bid for their first tour, risking bankruptcy soon after). This album reformulates the first with some variations, which is why it seems self-referential to me. Given that I quite like the first one and this one is enjoyable, tell me what they should aspire to, or which fields they should belong to. Ciao ;)

Well, precisely because several years have passed since the first, it was reasonable to expect something more. The luck of having hit upon a convincing formula is not enough to justify a (sly?) repetition of the same musical structures. Certain passages are more rarefied and there is a faint intention to enrich the recipe. The few added ingredients make the sound less danceable and more classic and polished. On the verge of being self-referential. For those who like contaminated tango (with an electronic/dance twist), the names to follow are those revolving around the collective album BAJOFONDO TANGO CLUB.

Waiting for the reply from the good Pin, I would say it is obvious and trivial that the writer expresses their point of view, their judgment, their impression. And then, after the recent events, certainly a bit of certainty is welcome! In this case (as in the other much more important one) shared by me.

The rough and magnificent soul of Richard is found in this record. Finally, a review that does justice to this one-of-a-kind album.

I completely relate to your review of this album. At the time, I listened to it frequently. Captivated by the cheerful and merry crew. Listening to it now, it seems both naive and sophisticated, simultaneously adult and childlike. At times annoying and fascinating. S.V. also for me.

My encounter with Sainkho took place in a room within a Benedictine cloister. I believe it was her first time in Italy. We were the sacrificial victims, and she, seated on a mat in the center of the room, devoured us one by one. Then I lost sight of her; she began to record myriad discs and concerts. Go ahead, share your thoughts, Alessandra.

Pantagruelic as well as unusual excursion into the electro-techno-intelligent territories of the good Sfascia. Excellent suggestion for a name outside the established circuits. Yet it's spoken of very well. I shall take care of it.