gabbox

Beautiful description, five-star record.

Excellent invitation in anticipation of the holiday feasts. Swift should be studied from elementary school.

I would love to meet someone who was at the concert, just to be flooded with the memories that linger after such sessions. Great writing.

Wow! I was convinced he had only made two, Flying High and It's Tomorrow Already, which is still very enjoyable. I'll look it up.

Hello everyone, actually this is the second album. The other one is from 2007 and confirms the skill of this composer in blending different genres into something very personal. More than drawing from the historical sources of House and Techno, it seems to me that the guy has taken inspiration from the seminal approach of an album like My Life in the Bush of Ghosts.

Hi Zion, I've heard this little but I'm drawn to the electronic journey that revisits Detroit techno through dubstep.

The project is so interesting that it was one of the motivations to attend last year's Sonar. An intense and engaging concert, even though we were in a rather alien environment due to the time and space. I recommend not to miss them live.

In a post-ideological society, the watermelon becomes a mandarin, so all the assumptions, comparisons, and contrasts simply do not hold. Rather, the League is skilled at appropriating the most rancid slices of this mandarin. In a fraction of Reggio, for example, the municipality had decided to allocate a camp for gypsies, and the League quickly settled in and rode the discontent of the local petty bourgeoisie, frightened by the devaluation their properties would undergo.
The interpretation of this phenomenon seems rather obvious to me. From a future and more optimistic perspective, it would be interesting to look into the rise of the MoVimento 5 Stelle (this has indeed been very strong in Emilia). Just to see the glass as half full.

Calm down, it's easy to get attached to the excitable tones of Tondelli's writing and then lose clarity, ending up in contradiction—just like the author himself. Why define the eighties as "a melancholic and desperate carnival" when the book collects reports, accounts, and experiences that are rich in content and inspiration? In those years and in those places, postmodern weekends could consist of a Friday with a concert-rally by Cccp at your neighborhood's Festa dell'Unità, a Saturday afternoon at the Raffaello Sanzio performance in a downtown Reggio building, and a Saturday night at a Dead Can Dance concert at the Ritz in Novellara. So much for the ephemeral.
Tondelli is an excellent chronicler of those years, but his curious and sincere gaze, when he tries to elevate itself to draw conclusions or drift into sociological essays, lacks conviction and, upon rereading today, seems ambitious if not moralistic in several passages. If we are looking for writers (not chroniclers) who will remain in anthologies in the years to come, the first names in the Emilia-Romagna region will be Gianni Celati and Ermanno Cavazzoni, certainly not the good Tondelli.

Excellent analysis of their journey. Perhaps it would have been better to stop rather than trying to change. Their project was interesting, balancing between provocation and experimentation, even if it didn't receive much acclaim. I wonder why I feel inclined to associate their artistic trajectory with that of Yello and Young Gods.