lux

"... American Idiot, in my opinion one of the best of the 2000 - 2010 decade...", but certainly, Mr. Fake.

This goes hand in hand with My Name Is Never Again, actually it's even worse.

Perspectives Franci, personally, I think I caught more from the album than there was to catch, and I consider myself savvy enough to assess it after a couple of careful listens, since a band's attitude usually becomes clear within the first 30 seconds of listening, and that attitude, for me, personally, is something I don’t like at all about Teatro. So it’s not a problem of melodies and song structures, especially since that’s not what I’m interested in discussing :-) On the other hand, you might speak with too much affection towards Teatro and perhaps not notice some of its limitations. I've already expressed my thoughts on intellectual pretensions; I simply see it as a different plane from the musical one, and therefore not as fundamental as the latter. Signifier and signified certainly exist, but I see both as related to the music :-)

Anyway, I don't agree with the crazed mayonnaise concept; the conceptual nuances are what might pertain to a concept album (like SFAM by the Unnameables), and I find it hard to legitimize SFAM because it is conceptually based on a story with references and perhaps because each piece is connected to the next. In my opinion, these are formal superstructures (in the most literal sense of "form") that cannot justify – perhaps just because they exist – the essentially musical aspect. Then there's the discussion about the lyrics, the citations, the intellectual background, which I think could be interesting to explore if we were first convinced by the music: who would indeed listen for entire months to a piece (or a whole work) just for the references to theater or literature? :-) I do agree on the ethics, which can be interesting to emphasize if there has first been a certain (personal) recognition of the music. Looking forward to the next post by Core-a-Core, which adds so much and broadens the debate :-D

"I don't care about them, but I look (disgusted) and move on," the low regard is mutual.

Let the revisions pass, which I personally haven't grasped (I listened to the album once and a half), but the point remains the same. It’s not even the revisions themselves that validate whether something is beautiful or ugly, worthy or unworthy, a work in itself. I’m not talking about conceptual nuances that the album might have; I’m simply saying that, at best, it's a musically old album from twenty years ago, and at worst, it's filled with Italian rock ballads to the core. It can be liked (and indeed it is), but who is saying anything about it? Then, regarding Capovilla’s honesty, commitment, etc., I raise my hands; no one questions that. And I wouldn’t even start discussions about niche markets, for heaven’s sake. Obviously, anyone who jumps onto the bandwagon of the latest unknown band—just because it’s cool to listen to obscure artists that others ignore—is a pathetic soul.

Never!

Maybe Franci didn't understand that no one cares about Capovilla's intellectual pretensions, that judging his work as valid a priori simply because "he sings Carmelo Bene's lines" is a bit crazy, come on. If Vasco Rossi started quoting Wittgenstein, would it change anything, porca pupazza? Absolutely not, he would still play crappy rock. But do we want to judge an album by the citations in the lyrics? Do we really want that? When I listen to LA CANZONE DI TOM, forget about discussing the lyrics, it's so awful, it feels like listening to the latest Agnelli, an endless bore. I mean, we're talking about theater and literature to legitimize the value of Teatro degli Orrori, when it would be enough to talk about music to discuss a music album. In short, don't think we don't catch the latent "message," there's really not much to grasp musically there.

Hardorock, just imagine, you’re preaching to the choir here… what I said was a paradox about the concept of visibility, which in my opinion diverges @ 47: No Problem :-)

Well, thank goodness you, dear Franci, have more relevant topics than I do (Literature? Theater? Weren't we talking about Rock?)... the people can breathe a sigh of relief! Anyway, if the results are that mush of "Tom's Song" (yes Gustavo, that one), Capovilla would be better off merging post-hardcore (Do I call it that? Yes, I actually made it up; I’m the only one who hears an embarrassing local imitation of David Yow on that record) with, I don't know, sculptural architecture or tempera painting. What an innovation! PS: please send me the book of on-point topics, I’m eager to learn too.