biaspoint

Great Fosca!!!

Really beautiful! A bit heavy on the first listens, but then it's an apotheosis. Regularly purchased on CD.

Beautiful review, congratulations. Well, when it comes to Laura, I am viscerally in love with her voice. Unique!!!!

I don't understand how one can negatively criticize an album like this; if only other Italians would create things as well-written, well-produced, and above all, well-played (just listen to the piano in "La quiete dopo un addio"). Then there's the matter of the b-sides and everything else, which can be taken into account, but what really matters in the end is what an album leaves to our ears and to our soul!

I only knew them by name, but now that I've heard this in "Sangue freddo," I can say they're not bad at all. In fact, the album is remarkable, and they're a bit outside the norms of the Italian indie scene—very good! It's been a while since there was this kind of buzz in the Beautiful Country!

Best album after the decline, "The high end of low," I quote "four rasted horses," the best song on the album, both the original and the acoustic version!

I was there too, and I can tell you I share everything you wrote. It had been 12 years since I last saw Nick live, and I have to say he seemed to have improved. It was truly a remarkable show with a well-crafted setlist, just as the re-arrangements of various songs like Mercy Seat, Deanna, etc. will stick with me forever. Congratulations to the festival organizers, who, apart from the fabulous backdrop of the Reggia, had everything in its place without any mess and the usual Italian organizational mishaps.

You see, it’s not so much to throw away after all, as you keep reading a bit everywhere.

Certainly more creative than the duran!

Offend me? Come on! No, there's no problem, since you agree on almost everything! I should mention that I've known DM since A Broken Frame and I've always loved the early albums up to Black Celebration; then, with Music for the Masses and Violator, I started not to understand them immediately, and even SOFAD didn't excite me at first, although I later changed my mind, so I will never disown those works. The fact is that I’ve grown over the years both as a listener and as a musician, and I’ve begun to evaluate things without getting swayed by emotions; that's why I consider SOTU superior to the earlier works—compositionally, there's no comparison. Whether it's liked or not is another story. To conclude, I want to say something else that wasn’t mentioned in the reviews. We need to remember that Martin and company are unfortunately not extraterrestrials; it was hard to make a better album than PTA, unlike making a good album after Exciter! To be honest, upon my first listens, aside from Wrong, I wasn't that impressed either. But slowly I realized that the songs weren't bad; the problem, as mentioned in the review, was the arrangements that didn’t fully utilize the potential of certain songs (not all), and here I would point fingers at Hillier and D. Miller. I would have never made another album with the same producer, and the history of DM proves that to us—with each album being different from the other. Anyway, it’s a pleasure for me to discuss these things. Take care and don’t be BITTER! :-)