Senmayan

Beautiful album, let's say it's the turning point of their career, that is, between the pompous rock of absolution (which I really like) and the less "orchestral" rock of their early days, in short, an album that can also please the group's detractors.

From some comments, I notice how metal has hurt some people a lot!!!!

I haven't listened to this album, but in my opinion, pre-AOR Journey (that is, the 70s) are a great band, especially "Infinity," featuring classics of American music like the beautiful "Lights" and "Wheel in the Sky." The AOR period with "Escape" isn't bad either. AOR is a genre that's been unfairly undervalued; I understand the critics' motivations (some reasons are valid), but I don't fully share them (to stay in the AOR theme, eh). For better or worse, AOR is an important piece of American music. Let's say that great critics like Lester Bangs and the whole snobby alternative indie crowd have both helped and harmed many minds in terms of their approach to music, as has AOR, of course. It's music that, in some cases, is terrible, and in others, is excellent.

Very nice also previsao do tempo, besides these two I also have the homonymous album from '68 that I mention in the review and that I naturally recommend, an excellent synthesis of "Western" lounge sounds, with a sensitivity to Bacharach and Brazilian music, an album made for the American audience that rewarded it with the worldwide success of samba de verao. Another album by Marcos Valle (more on the funk side and with some small '80s sounds) is the homonymous one from 1983, featuring the legendary "estrelar," a truly captivating song. However, as mentioned, of these four albums listened to, the best is definitely this "garra," a real gem. For Macaco, besides samba de verao (in English "so nice, summer samba") he also wrote Viola Enluarada, which is said to be another of his famous and well-known pieces, along with Milton Nascimento.

Boring character, just like the reviewer! The new religion of the 2000s is this pseudo ultrarationalist materialism, dogmatic and closed like the inquisitors of the 1600s; in the end, history always repeats itself, only the methods change.

The first one is more iconic, but this one is crazier, more anarchic, and genius-like. Repeating scenes from the first film, making actors perform in already shot scenes, having them meet themselves in the same scenes from different angles is not something everyone can pull off. It requires a solid script and perfect editing, elements that this film has. What makes it inferior to the first is simply that it relies on the first, and those who haven't seen the first don't understand a damn thing.
Ultra superficial review!

I consider it a masterpiece, and I’m one of those who were disappointed by "this must be the place," a film where Sorrentino tries to be American (a feat he fails at). Here, however, he returns to his own dimension and, in my opinion, in addition to being one of the most beautiful films in Italian cinema of recent years (2013 is full of surprises; even Tornatore has impressed me), it is also the best of his filmography. Considering that Fellini is a genius and Sorrentino is certainly not, this film is the Sweet Life of the 21st century. A word to the wise is sufficient.

I recommend it to everyone; it might be their least cited album, but it's among the best, featuring some of the finest songs in their discography, with a particular and dissonant guitar sound that is much more seminal than the previous ones. Okay, it may not reach the debut, but it's a small masterpiece.

a step back compared to the previous ones. The song structures are simplified, and that’s not a bad thing, but not all tracks live up to the mark. Of course, an incredible track like "love like blood" or the equally beautiful "europe" is enough to make this a successful album, yet it lacks the brilliance of the early albums!

It's a great album with more groove than the previous ones and it's not really more commercial; the catchier tracks will come starting from nighttime! It sits slightly below the first three (including the underrated revelations) which have a great atmosphere, but it's still a beautiful album: 4.5