Saputello

I am waiting for the second album by Teatro degli Orrori, if it ever comes out. I can only say that I’m generally not passionate about the Italian underground, but with this band something clicked that hadn’t with either the Super Elastic Bubble Plastic or the One Dimensional Man. The album and the subsequent tour of the band shine with their own light; many have tried to consider Teatro degli Orrori as merely derivative of the American post-punk school (with Jesus Lizard being the prime example), which, in my opinion, is a serious mistake. Their debut album showcases a synthesis of different musical influences, even those culturally distant from each other, placing it among the best Italian rock albums. I also really appreciated this interview, and as I mentioned some time ago to Capovilla the day after one of their great concerts, I renew the invitation: I would love a second album!

It's my favorite of his, along with bricolage. Technically incredible (especially the rhythms he creates and the blends made in cut n' paste), but his tracks tire me out over time, and they sound too mechanical, soulless; however, he's a hell of a musician.

@ Bartle: You did well, some opportunities must be seized on the fly, and those who know how to fly will understand well what I mean.

They played yesterday too at the pub next to my house. It was a nice little concert, but they need to improve. The drummer (whom the friends in the front row teased by calling him "Michele Porno") often loses the beat, and above all, the singer has bad breath.

"I am convinced that obtaining such information was not easy, especially since the CIA covered everything up"-----> you can bet on that, in fact I still live in fear of my condition as a political refugee.

Martina, you're 15 but you look 84. If I were T., I would never go out with you, for fear of getting a denture stuck to my tongue. And enjoy your youth for crying out loud, read Jim Morrison's biography and smoke some weed, who cares about Manzoni.

@ ILMIGLIORE: Perhaps it would be useful to ask ourselves how we got to this point in our time, perhaps it could also be the result of a misguided social path, which the protests and demonstrations you mention from the late '60s certainly did not hinder.

"I won't dwell on what those 3 days at Woodstock meant for music or the delicate and intense period or the beauty of those years, perhaps the only ones when changes were 'truly' possible, in the full awareness and civic consciousness of 'each' of us, when we knew how to roll up our sleeves and understood the essence of life and its real importance, unlike today." ------> I completely disagree. The review doesn’t resonate with me; it feels like a stereotypical recollection of things already said a thousand times, with superficial social considerations (before everything could change - now it can't /// before there was creativity - now there are stereotypes), haphazardly mixed with a musical description of the event and superficial philosophical digressions. In short, there's a bit of everything, but none of it strikes a chord with me in your argument.

I must also say, for the sake of the record, that I get excited about albums from the past that have practically nothing innovative. So I hope, in short. Perhaps one should find interest not only in the new but also in other characteristics of an album, or even a concert. At a concert, you don't get excited just because the musicians are deconstructing the performance.

@ Lukin: I didn't know you had sunk to such low depths, you have some courage :D.