voiceface

I always forget to log in before writing a review... greetings to the debaserians I tangled with yesterday! ;-)

It feels like when in high school I studied hermeticism and wondered why Quasimodo's poems were followed by pages and pages of literary criticism; now I understand.

Oh my gosh, that "tendette" Sfascia!... well, it must have been a moment of panic, anyway the album is interesting but I’ve never found it up to the previous FETUS or the masterpiece of the '70s CLIC. What can we say about capatonda: we’re talking about an artist who in the sixties wrote almost punk pieces (Paranoia), who in '72 wrote a concept album about the meaning of life, who in the following years was among the pioneers of the synthesizer, who played mandolins, crystals, piano (in a very original way: feeling Egypt before the sands), in short, stuff that would make any Italian artist of the era pale. He is clearly an absolute genius if you think that his fame comes from what he did in the '80s. In short, overestimating him is never enough...

Great review, well done!

Mina can sing anything...except one thing...she must steer clear of Neapolitan music because her accent is ridiculous and she never manages to infuse the songs with the right Neapolitan flavor.

I have only read the lyrics of Minghi's latest album and listened to a couple of tracks... indeed, I agree with you, let's hope it's a prelude to a somewhat more consistent involvement from Panella in music.

you're referring to "cynical irony"... I agree with you that the world is certainly cynical, but I believe that in some expressions Waters himself shows cynicism: "a brazilian grew a tree" is irony mixed with cynicism because it makes a forced generalization, don’t you think?... I see you posted the link to traccefresche, a site I also frequent from time to time... bye

Yes, I mostly agree, even though among the things I remember most fondly are Gazzè's second and third albums, which are really beautiful... I believe that, for various reasons, Battisti's "disciples" haven't been able to get too close to his style; first and foremost, there's the absence of Panella, and those who do have him utilize him in a limited way; secondly, the style of the "white" albums is too personal and detached from the rest of Italian music, and few would take the risk of truly imitating it; finally, I would say that Battisti's meticulous work in refining his compositional skills over the years is a phenomenon that is more unique than rare. Most of those handful of songs is a maniacal work on harmony, sounds, and rhythms... In short, I'm starting to think that Battisti, more than being ahead by about twenty years, musically speaking, belonged to a different artistic dimension, not necessarily superior to others...

I’m glad that this record has sparked interest and, for those who have the courage to listen to it, also wonder, because it’s truly beautiful... returning to your question, I believe, as Primiballi also says, that there have been several attempts to follow the linguistic path laid out by Panella. Without mentioning Minghi or Zucchero, with whom Panella has collaborated for years, various artists like Gazzè, Bersani, Tiromancino, Fabi, and others have tried, to varying degrees, to write in that vein. Of course, there are still the monosyllabic verses of Meneguzzi or the banalities of Nek... my current intent is simply to promote Panella’s work with Battisti, as it is too undervalued and neglected, but I don’t believe there is a very wide audience at present willing to understand and appreciate this type of musical exploration... goodbye.

Absolutely, but it's wrong to think that Battisti's experimental work is just electronic music; consider that only in "Hegel" do the drums and bass disappear; in the title track of Pappalardo's album, it’s Battisti who plays the bass!... Anyway, I can't understand why such an inspired artist decided to stop making records since then...