Mike76

Great caricature of brain-dead metalheads, but it got tiresome after a while.

Today I wanted to find out who these Teatro degli Orrori are that everyone talks about, and I stumble upon "A Sangue Freddo" on YouTube. I find Antonio Cassano’s uncle singing with a cartoonish voice a text that is halfway between a denunciation and an interview with the literature professor, all set to a worn-out post-grunge musical background and a pretty basic chorus-verse-chorus structure. Right now, I don’t want to rush to judgment; maybe the album is beautiful, but certainly, as an introduction, it's not the best. I completely agree with comment no. 28 by Saputello.

Far from re-evaluating the figure of this leader of the Italian left, it is true that public debt grew exponentially during his government, but it is also true that the record inflation of the late '70s/early '80s was significantly reduced (in '80 the inflation rate was over 21% while in '87, the last year of Craxi's government, it reached 4.6%). The blanket would have been too short on one side or the other anyway. I am not an economist, but I think that between a huge public debt and sky-high inflation, the former is preferable.

It may be, but staying in a house in the middle of the lake without ever getting laid stresses me out.

Great (ass)hole Mara, the book must be unreadable. Anyway, the stalking law is fine, it was needed.

"You’ve Pierced My Life." Anthem for the heroine?

I'm wearing this suit (a black suit) I'm wearing this tie (a black tie) I'm carrying this case (a black case) I walk down the street, the people are staring...

This album is truly a mysterious object, strange, and I would say that no one until today has been able (or wanted) to follow in its footsteps. The electronics are actually marginal and almost entirely absent, while there is still an abundant trace of the jazz-noise from the previous album (but was the "free-jazz-punk-English" that Battiato couldn't stand perhaps that?), yet everything is more structured in song form, albeit expanded and completely unconventional. Newton's black and raspy voice, combined with the free-jazz-noise elements, occasionally makes me think of a Captain Beefheart catapulted from the sun of California to the depressed and steel-making Sheffield, not before having replaced the acid with heroin. There's also a lot more: Burroughs-like lyrics, dance and punk elements... in short, not a masterpiece, but certainly one of the most creative and surprising albums I have ever listened to.

A gift idea for Christmas.

It's curious that even though I look down on the Stones, Led Zeppelin, and Interpol ALSO for a matter of originality, I find myself appreciating comment 109 by Senmayan. As time goes by, "more music and less nonsense" is increasingly becoming my motto as a listener, perhaps because I realize that there are great songs made in a less original style that are worth more than many innovative but also ugly and/or expressionless tracks.