koopa

As a Sunday Battistiano, I have always appreciated Lucio’s shift more on paper than in records. Not being (also for age reasons) a fan of the "early" Battisti, I have no saints to pray to nor "the old Battisti" to mourn; I just say that "Don Giovanni," listened to today, still fascinates and sounds current, with a panel in great form, cryptic and ironic just enough. "L'apparenza," more electronic and more Panellian, is still quite listenable, featuring beautiful songs (with "Per altri motivi" standing out) but with sounds that are starting to age. Well, after "L'apparenza," I admit that I haven't been able to listen to anything anymore, annoyed by an extremely outdated electronics with sounds that I frankly deem (at least today) unlistenable. I remember beautiful tracks scattered here and there ("La bellezza riunita" from Hegel) but musically "we are in prehistory - here’s a phrase that will last -"

"mainstream innovation," in this sense I fully agree; even bands like Nirvana or Nine Inch Nails, inventing little or nothing, have had the not insignificant merit of "imposing" on a large scale sounds and an approach to music that had been previously oblique and "alternative" (only to turn it into a sort of new mainstream, just look at the unfortunate post-grunge epigones like Puddle of Mudd or the hypermarket industrial of bands like Filter, but that’s another story). In the film field, Tarantino comes to mind, who, as David Foster Wallace rightly notes (what a fucking genius), took much of Lynch's dark and cryptic charm to make it more digestible and entertaining, "creating" a (his?) new style that is very little new... best regards.

... with Kid A they then, in my opinion, simply continued on the same path by appropriating other people's sounds as added value. Now: the fact that Kid A has been received as an "innovative" album rather than a new one cannot but leave those who already knew Aphex Twin or Autechre a little perplexed (the fact that some people didn't know Autechre, and here maybe I didn't fully grasp the meaning of your words, doesn't change the "absolute" discourse one bit)... especially in light of the fact that someone like Aphex Twin has perhaps been truly innovative, working on really "new" timbres and rhythms and essentially making history. I don't know, I'm writing nonsense, I'm in a rush and have to leave you, but this discussion interests me a lot... talk later when I have more time. Bye.

Well, Alex, I find the first part of your speech largely shareable, in the sense that many artistic "turns" are actually (inevitably) built on foundations that are, at least in their essence, pre-existing; it is then up to the artist to utilize others' achievements, crystallize them, give them a concrete and coherent form, perhaps recontextualizing them. In the specific case of Radiohead, their greatest merit lies, obviously "in my opinion" (an annoying and vaguely hypocritical interjection), in having hinted at an evolutionary "rock" possibility - that is - a overcoming of the song form that doesn’t cross into "pure" (read: obscure) experimentation but maintains its "pop" impact in the sense of "popular" (see the paradigmatic "Paranoid Android," an epoch-making "single" precisely because in some way it is a non-single)... (continues)

It's the "megafestivals" that usually suck... in a nutshell: shitty sounds and acoustics, unbearable heat, afternoon bands discouraged by a sweaty and distracted audience, "headliners" mortified by a tired and bored crowd after a day of afternoon bands disheartened by a sweaty and distracted "self" (the audience) just waiting for the headliners who then arrive but are humiliated by a tired and bored audience...(loop)...

Nothing wrong, Alex, but a slight "downsizing," maybe that’s it... the so-called turning point album of a band already "historic" like Radiohead shines with a different light if its "turning" aspect (the sounds) is strongly derivative. Upon reflection, perhaps "OK Computer," with its metamorphic and futuristic rock, is preferable to "Kid A," which is discontinuous compared to "OK..." especially due to the use of second-hand (luxury) electronics, offspring of Richard D. James and company...

"twoism" is indeed a bit dated, but "geogaddi" is beautiful, in my opinion, although it falls short of "music has the right to children"... so, PSYCHO, feel free to try "music..." but if you don't like "geogaddi"... the beautiful EP "in a beautiful place out in the country" and the Skam EP, which is worth it just for "everything you do is a balloon". Anyway, the Boards are my favorite group (so to speak...), maybe I’m biased up to a certain point...

Boards of Canada are a Scottish duo... imagine a disembodied yet human electronic sound, hypnotic and, in its own way, moving. At least, that’s what it touches in the depths of this humble person... I would recommend starting with "Music Has the Right to Children," if only because it’s from '98, and I believe it’s what "Kid A" feeds on (a magnificent album nonetheless, just to avoid misunderstandings)... bye

I take the opportunity of the reference to "Kid A" by egebamyasi to say (hint?): could it be that the Radiohead of the turning point signaled after listening to a few disks from Warp? Maybe, but in the sounds of Kid A, I hear quite a bit of Boards of Canada, Autechre, and the usual crowd... not that there's anything wrong with that, but...

another little song dedicated to the irascible, spoiled, whimsical koopa? I’m here happily hopping from one foot to the other, spitting flames for fun! my heart of darkness respectfully thanks the good KURZ. as for HAL, what can I say? you’ve lost your words, you say... well... it’s a bit... "cheap" to have to explain, but evidently, you didn’t catch the meaning of my last message; let’s put it this way: bowser (aka koopa) and super mario, just a moment before "the end", say goodbye and make plans for their next endless adventures, both aware of their respective roles of "bad" and "good". credits roll, there are a bunch of Japanese names, the last one belongs to the genius of the century - that is - "executive producer: shigeru miyamoto". black screen. turn off the console, unplug it, and can’t wait for the princess to be kidnapped again. the usual (video)game of roles, in short. clear. like a pond without mud. like a clear summer sky forever blue. kisses.