Copernico

I don't have any bootlegs on video, perhaps the hardest one to find that I own is "Around The World," on VHS, which unfortunately has not yet been released on DVD. I have tons of bootlegs on vinyl, some rare and others less so, and of course with the originals it’s an open (losing) account, ranging from the first "Fall Out" with the original black and white cover by Copeland, to the Australian edition of "Synchronicity" in three different lacquers (red, green, yellow). By the way, I own around a hundred radio recordings starting from Mont De Marsan in 1976 with Padovani to the 1986 reunion with Bono's cameo. If you’re interested, I have recordings from all three Italian tours: Milan, Turin 1980; Bologna, Milan 1982, and Rome 1984. Thank you for giving me the opportunity to speak as a "collector." See you soon.

Anyway, Mr. Nobody, thank you, because thanks to you and other de-reviewers that I won't name but whom you can more or less guess, I’ve given a bit more depth to a site that I had taken lightly, convinced that there were only time wasters ready to kill themselves to argue that their band or singer was or is the best in the world. I apologize for my initial arrogance and for some rather silly reviews (A-Ha, Ac/Dc), but I don’t regret them nonetheless.

Honestly, I’m caught off guard both by the author and, of course, by his work. At first glance, a bit reading the opening of the review and a bit looking at that austere yet wise face on the cover, it seemed like I was about to embark on some sort of musical Rasputin (I now travel with quotes from "Uomini Straordinari," see my reviews). I think I’m mistaken; the review is beautiful and I’ll tell you the truth, more for how it’s written—simple but fulfilling, minimal yet not poor—than for the artistic content within it. Not that it doesn’t fascinate or intrigue me; on the contrary, but it would be hypocritical to give it a different judgment without having the elements to do so. Intuitively, it could evoke something from the Art Of Zoid (do you know them?), and for the rest, I will make sure to educate myself sonically. Unfortunately, I can’t hear the samples.

For Mr. Nobody. First of all, good to find you, I got the latest from Jon Hassel and I'm listening to it with great pleasure. I won't go too far out on a limb, but I believe that the period of "Dream Theory In ..." represents a particularly <foggy> and inspired moment for him, and presenting this latest work as a subsequent chapter raises some doubts for me. However, that doesn't take away from the fact that it's a very welcome return, and if you notice, he has taken the path of <sonic cleanliness>, with cleaner sounds and trumpet that's filtered but less nebulous. The compositions are very beautiful (improvised), and even the graphic design doesn't look bad. What do you think? Bye until next time.

You never know, it's better (considering the reviewer and some of the de-reviewers) to clearly clarify the positions.

For Panurge. The trumpet, like the phone in "Three Of A Perfect Pair," is by Belew, and it's in his style.

I agree with Masahiro.

Sorry, but I can't sleep at night. Do you realize the importance of this album? Listen to it again carefully, in fact, listen to it!

In my opinion, Tony Levin doesn't have good technique, Robert Fripp is not a guitarist, Adrian Belew is not a second guitarist, "Discipline" is not prog rock, "The Sheltering Sky" is not bad (note that with ..."Sheltering Sky" we transition from frippertronics, <simple so to speak loops> to a sketch of soundscape, and then....... well, I really like "Abacab."

For lucabbrasi. Hi, I read that you're a huge Police fan, and I just wanted to say that I share the same passion for them. I've seen them live twice (Rome '84 and Turin '80) and I'm still a member of the Outlandos Fan Club. For me, it's also difficult to express myself about the Police, too biased and therefore overwhelmed by emotions, but I keep an article from Fare Musica from '83 where they talked about the great Manu Katchè, who wasn't very well-known at the time, with the title "Katchè, the heir of Copeland," precisely highlighting the work of splash 12" and 15" that have made these two drummers unique in their use of cymbals.