AristarcoScannabue

Sorry, but your post is a bit confusing... who would ignore my existence? Or are you referring to Filofobia in general? In the first case, should I have written the review in 10 years?? I don’t understand... In the second case, the difficulties seem evident... the quotation... in my opinion, it’s a way to express how something sounds (but you see that I added "the solidity of the whole can very well be read without fishing for underground and esoteric influences"). Also, it seems to me that our people are deeply rooted in the Italic tradition; then again, I don’t know, you see what you think... as for the best tracks... I’m not sure if those are the best tracks or if we can even talk about better tracks; it was just an attempt to better explain the group... what you’re saying in the end doesn’t seem very articulated, although it’s acceptable... anyway, talk to you later!

ok... Smash, I like your reviews and I like that you read the others... regarding the album, I can tell you that after listening to it and every time I hear it, I don't know why I feel better ("cathartic") although I repeat there vibrates a very thin unease in both thematic and melodic terms, so to speak... Mr. Nobody, you are really a bastard!!! I don't even know what a sample is... anyway, I don't think I will put it there, maybe because you don't download anything??? Thanks for the appreciation.

vote

The album is lovely, but in my opinion, the best tracks are the more pop ones like La guerra è finito or Sergio, which send shivers down my spine. Then there are I provinciali and Un romantico a Milano.

It reminds me of Enzo Siciliano's reviews in the Venerdì di Repubblica, well done! I don't know these pieces, if I find them I'll let you know, okay? Or does Mendelssohn want the rights after 1000 years?!?!?

he didn't link me the page... here’s the address... Filofobia - Recensione - Entrée du port (Psichedelico, Pop, Noise)

this is the true masterpiece of Radiohead.

Sorry, but your review, and your subsequent comments, make no sense at all and fail to convey the idea of an absolutely new album, an attempt at exploration built on melodic progression rather than just the simple strumming of guitar strings. Moreover, the songs are all beautiful, and the 34 minutes are the most honest thing anyone who plays can do today.

a legend, Max.

Well, I also used to think of Jovanotti as an ideologically naive fool, but this new album is a delight. It’s been a while since I've eagerly anticipated the next song to discover and savor. Moreover, talking about songs seems limiting for a work that has the merit of intelligently rewriting the verse-chorus-verse format; the lyrics, then, are very clever and personal.