Saputello

" reread all the comments in here (but also the others on debaser)" ----> Can you point out 3 or 4 at most that give a good idea? I get that you’re cool and cultured, but not everyone has two years to figure it out.

Beautiful discussion. Surely many people like me right now are taking notes from Geenoo to figure out how to win a girl over by talking to her about Asimov's foundation.

This year, I was pretty disappointed by Scuba's album; it seems like something thrown together by recycling Burial's ideas (and by the way, I never really cared for him much). Listening to all this stuff you posted would take years, and I will come back to it from time to time to make the most of it. In the meantime (I’m still crying), I wanted to give a virtual shout-out to kosmogabri, say hi to Odradek, and tell Bartleboom that from now on, "vi tira un culo come la mangiatoia di Betlemme" is a saying that is going straight into my everyday language.

Thank you Untilted, you are a beautiful person, and this is a touching page. Thank you all, I am crying.

@ UNTILTED: I believe that with that phrase about techno, the reviewer wanted to distance this album from the "intimate and personal" kinds of things that characterized techno in the past. I say this because I really struggle to consider this a techno music album; in fact, I’ll say it—it’s not a techno music album. The beat is so muted and softened by the orchestral arrangements that I see the weight resting entirely on the sounds and arrangements, to the detriment of the rhythm. There are entire ambient tracks like #10, or #9 with a section that even seems to belong to kraut rock. I can hear quite a bit of influences from people like Popol Vuh in this French phenomenon. And it feels very much like cultured music (after all, the reference to Terry Riley is anything but implicit), much more so than Carl Craig and Von Oswald's Recomposed, just to make a comparison. In short, it's such a heterogeneous album that, in my opinion, it can't be categorized into any genre. All I know is that it's incredibly awesome.

"Forget the psychologist's name, rather, I'm still waiting for Saputello's." ----> No, after your last posts I've changed my mind, I'll give you the name of a neurosurgeon, it's better.

"Few records, like the forty from Saputello in less than a year, I would listen to too if I didn't have a life, but that's not it." Come on, you can do better; this kind of provocation is already outdated.

Leave Cappio alone, I understood him, he is a professional of the supercazzola.

Here are the ones I have enjoyed so far in 2010 (in random order). Arandel: In D. Black Keys: Brothers. Everything Everything: Man Alive. Konono N°1: Assume Crash Position. Janelle Monáe: The ArchAndroid. The Morning Benders: Big Echo. Françoise Hardy: La pluie sans parapluie. Bonobo: Black Sands. Field Music: Measure. Loscil: Endless Falls. Four Tet: There Is Love in You.

@ Bartleboom: I will personally come to your house to check that you're not really listening to any others, because that would be a very serious matter. But if you do, you know very well that you can't fall in love with any of the albums you've listened to, as you've surely listened to them less than 52 times (the limit that determines the possibility of falling in love with an album according to the cappiopolliano decree); the law is clear. Anyway, I counted them, and there are 35, not 40—what am I in for? Now I'm going to erase the memory of the mp3 player, of lastfm, and I'm selling the CD player and turntable under a false name; I would never want to be caught for excessive listening and punished with the forced reading of yet another long-winded cappioalpollo rant.