COX

I have to see him tomorrow.

But excuse me, what do we care that you write due to a lack of time because of your project?

Surely the review is not flawless; it tries to be too descriptive, with too many adjectives for music that speaks for itself. This time I agree with Carlos; something more evocative, in terms of imagery, would have been better. But the effort is appreciated; the album is difficult to describe, and three stars are well deserved. As for the album, it might be my favorite by Magma, and regarding De Futura, it is one of the tracks I've listened to the most in progressive, despite its 18 minutes. How to define this suite? Can we limit ourselves to just the incredible bass that drives the piece forward to define it? Certainly not; every element is perfect. De Futura is the symbol of evil, the empire of darkness that strikes back after hibernation, coming directly from space.

Ok, many beautiful words to describe the album in a picturesque way, but the statement of "substance" is not shareable and never will be: "world music owes its existence to the great foresight of this artist." Can such a vast phenomenon as World music, which is merely a label that covers a bit of everything, be attributed to the merit of just one person? In reality, I find the review too redundant; luckily it's short but a bit boring.

The review is too descriptive, to the point that it reveals the film's ending, which is not ideal for someone like me who hasn't seen it (and won't at this point). It's a shame because the passion and love for the content are there, you can see it, and they are somehow conveyed.

I saw a concert by Fiumani without Diaframma in 2006. A live show that, at best, lasted 45 minutes; Fiumani was annoyed, half-drunk, the city was small and remote, but for the little time it lasted, he played like a god, at least for me. In fact, it was there that I fell in love with Vaiano (volume 13). On that occasion, I bought a box set, a CD and DVD of Tre volte lacrime along with the corresponding tour. What can I say, the sound quality of the early Diaframma live recordings is poor, typical of amateur recordings, but they are still important historical documents. I’ll turn the question back to you in the form of a question: do you really think that newcomers should be advised to listen to the very first era at the expense of the more singer-songwriter period? For me, yes, especially if the newcomer is under 20. Anyway, your review is good, thorough, even though I don’t agree with the idea that Siberia is more or less known by everyone. Let's just say it's an album that genre fans MUST know, but it’s inaccessible to most.

I really enjoyed this reflection on Ummagumma. The problem, however, is precisely this: it's not a review but a reflection. The merit is that it doesn’t bore, unlike many track-by-track reviews, while the flaw is clearly that it is not a review.

I don't know how I managed to ignore them for all this time, these guys are the eighth wonder of the world, a group with balls as big as melons, way ahead of their time, making everything else sound old. This album is a blast but it's not the only one. I really liked your review. Yes we Can.

it's an easy album to listen to, and for me, that's always a significant plus. However, there's nothing particularly thrilling here,

If it had been an album with 5 or 6 tracks at most, it would have been a whole different story. Gorgeous We have the map of the piano and green green grass tunnel. The problem is that there are tracks included perhaps just to fill it up; the listening experience is pleasant, but if repeated, it becomes tedious for this reason.