Lucabbrasi

...perhaps it is the weakest of the trilogy. During yet another reunion from '73 onwards, however, Larks represents a complete shock, a breakthrough compared to the previous (still fantastic) "progressive" period. The last album, Red, closes that amazing three-year span, and I've already reviewed that record. The Kings, despite the great despot Fripp acting as a connecting force, have paradoxically always been affected (positively or negatively) by the type of lineup. The mid-'70s formation, featuring the underrated Wetton, Cross on violin, Bruford on drums, and the wild Jamie Muir on percussion, remains one of my favorites, and undoubtedly, it is a lineup whose sounds will inspire many for many years to come... In '82, the reformation gained new life, still with Bruford, Belew, and Tony Levin: however, only two valid albums emerged (Discipline and Beat), while Three of... was quite disappointing.

Mariaelena, write to me if you can
mugolone@inwind.it
let's exchange a few words

Aeneas, I bow to you: indeed the CMI was already circulating since '82, the year of the fantastic "IV" by Gabriel...anyway...heh heh, during a trip to Vienna I bought an LP with the first compositions of an Austrian duo entirely made with the Fairlight, and I believe these are the first commercially released ones...Erdenklang, I think, and I believe there’s also a related website...

...I talked about records entirely made with the Fairlight (back then the ONLY computer dedicated to music)....and I also said that this particular aspect had a SIGNIFICANT impact on the purely compositional side....

...my usual technical contribution: "The context is the '80s: use of synthesizers, timid hints of sampling, and effected instruments." I correct myself: this unknown little disc is, along with Battisti's previous "E' già," the first attempt realized almost entirely with the (then) strange, unknown, and groundbreaking sounds created with the legendary Fairlight CMI. And this is no small matter. In England, the usual Peter Gabriel had paved the way; in Italy... in Italy, in fact, it has been these two who had the courage to rely on rhythms, sounds, and perhaps other elements produced solely by a then-innovative and daring machine. And this particularity inevitably influences the sounds and arrangements. A courageous album anyway, regardless.

...when someone explains the term "commercial," perhaps it will be a great day. When someone convinces me that, for example, Orbital make albums ONLY for the private listening of friends and relatives, rather than to have them "purchased" by someone, so they can be heard by strangers... that too will be a great day.

...dear Antonio, the club is not defined by me as a club because it is closed to anyone. Let's say I chose the wrong term: in an era where my colleague at work has set as her horrible ringtone the cheerful jingle "...vieni con meeee, ti porterò lontano con meeee..." (and she even sings it with satisfaction), in an era where a Ramazzotti continues, with his awful nasal or adenoid voice, to "climb" the sales charts, in an era where "rock or slow" (oh my) is in fashion.... it's natural that I might define "club" that kind of Indian reserve where those who can still be moved by beautiful, timeless, and non-trivial music retreat. No membership required: just throw away any Bon Jovi or various Pausini, and put a random CD of Sylvian in the player.... (not very exclusive as a club, is it? It takes little...)

A few words: you either totally love Sylvian or you hate him. I've adored him for years now, and I consider almost everything he's done (I think we can give geniuses the benefit of the doubt...) to be masterpieces. Blemish... well, I need to catch up on that: I hope it turns out to be a diamond in the rough that requires a lot of effort to polish. As for Nine Horses, I've already read some enthusiastic previews: just the fact that big brother Steve Jansen is involved guarantees its quality... I believe I'll "catter" a copy soon, to brighten the cold winter nights with music that few can appreciate (thankfully...)

...excuse me, why do you call this "music" by any chance?

...my usual "technical" detail about the album: I believe it was one of the few, if not the only one, to be played without any cymbals. It was actually Peter Gabriel who, wanting to experiment with more tribal sounds in the rhythms, completely removed the cymbals from the drum sets of the bewildered Phil Collins and Jerry Marotta. The results, then, would be masterpieces of drumming such as "Intruder" or "Biko" itself...