easycure

Well, look at that! They seem extremely interesting and very much to my taste, and I had never heard of them at all. I'll take care of it.

As for continuing to be the talk of the town, I doubt it... I too don't really try anymore, and there's no real joy in it... And in the "historic" review of Metropolis, comments are now rare (and often not even relevant). But then again, it's always been one of the peculiarities of this group to be, essentially, completely out of time: I don’t think many people care about them anymore... back in the early '90s, someone could have even made people believe they were a novelty, but now, after fifteen years, what's the point?

:-) look who's back! How are you?

even though I haven't listened to stuff like this in years, this remains an absolute cult and an essential album.. the guitar riff in Chi is one of the most beautiful things I've ever heard.. the use of rhythms in this album is one of the most modern of the '90s.. Angry furies, monsters. It's a shame that from this point on they completely messed it up.

"that it wasn't a general record" = that it wasn't an original record. But what the hell am I writing? :-D

X Ghemison and Psycho: no, I’m probably mistaken about blow up.. it was the pile, besides noise, now that Ghemison reminded me. And you’re right, from those reviews it was perfectly clear that it wasn't a general album.. it also leads one to believe, however, that if an album stands out so much from the others, there must be a reason. But the more I read, the less I believe, to tell the truth.. I don’t even know if I want to delve deeper with the download.

It was like album of the month for both Rumore and Blow Up... but I trust you a lot more. And as usual, things that smell of oldness don’t seem to be for me :-)

heh I imagined so :-)

Yes, really a ton of good stuff. I just found out about the Portishead concert in Florence in March!

You know, primiballi, if we were to make a speech regarding Italian cinema, Ferreri immediately comes to mind (a great talent who has been overlooked among the great Italians). I take him as a model for the discourse I was making precisely because his metaphors are extreme and often explicit. But even when they are not—referring to hypothetically lesser films like Ape Regina or L'uomo dei palloni (two absolute masterpieces for me)—he can literally horrify you with certain Italian cultural and social realities. I think that if I had to imagine a model that has made and continues to make us "reflect" on certain Italian situations, Ferreri is the first to come to mind above all else. And after appreciating his enormous expressive power (as well as that of Pasolini's Salò, which is less analytically strict), frankly, a film like that seems ridiculous to me as a portrayal of Italy. It’s not that I expected another Dillinger è morto, mind you, but Moretti's perspective seems "soft," down-to-earth, indeed lacking substance. It may no longer be the time for certain cinema, but in the same way, discussing certain topics in a particular manner is pointless. So it’s better not to do it (considering cinema as a real and effective way to look into reality or a certain reality).