Hybris

Nice job on the review, I like it. I won't comment on Baricco; I stopped reading him because I couldn't stand him anymore, even though City was the one I liked the most. Anyway, you're right about the women. I'm still looking for a woman who can gift me Conrad (or Hemingway). The Hitchhiker's Guide to the Galaxy would work too…

Nice review. Mass III impressed me a lot even though it was truly of an unmatched darkness. I would love to experience its live impact... and I also agree with what you say about the emerging French 'scene' revolving around these sounds, among Year of no Light, Time to Burn, Celeste, and others.

If you're interested in the first period, go with Pop Tatari and Soul Discharge. If you're more into the new direction, start with Vision Creation Newsun ;)

Exactly seventy-seven no, but that it’s not three you can hear (ekkome!). Obzeqkui.

I think you discouraged the boy.

It's my style. I didn't include the sample because I don't have the right programs to make it, and at the moment I really don't have all the time in the world (even though some might say otherwise .p)

Take that video with a grain of salt, as the second album is less grindrumortotal and more mixed and experimental with sounds.

I wanted to listen to Wrapped Island; on RYM it's defined as an album of 'lowercase' music (a subgenre of field recordings based on minute and often inaudible sounds) and that interests me. The works with Rowe (from AMM, not messing around) also inspire me, mostly because he's truly a legendary figure, and I can't imagine what he could come up with alongside someone like Fennesz.

He collaborated on Vigil, a track from their latest Shadows of the Sun. But Fennesz's list of collaborations is quite long... there's a lot of good stuff to rediscover.

You misunderstood me, Sid. First of all, speaking highly of an artist or an album doesn't necessarily equate to mythologizing them. I can love to bits (let's say) Isis and Aaron Turner's work as a graphic artist and head of Hydra Head, but I'd never dream of thinking of Aaron as a 'masterpiece of a person' or to come out with a 'you try being masterpieces.' (Nothing against the person who said these things, but they seem to me quite a clear example of what I mean.) The fact that I absolutely love Zu is true, but I certainly don't say that they are the best of all or that others don't reach their level, nor do I claim that no one has ever done jazzcore like them or that they are the first to do anything. After all, no one in this world is the first to do anything; that's definitely not the issue. If I were to take issue with the originality of Teatro degli Orrori (and I don’t, I’m not interested in being a musicologist or an 'objective' critic), I would start making comparisons with the sounds of the bands that, coincidentally and rightly so, Capovilla cited as influences, like Oxbow, Jesus Lizard, and Melvins. Plus, as a musician myself, having been writing music with a band for three years, I know from personal experience how strange yet simultaneously fragile and strong the relationship with one’s influences is in the creative act. In short, my resentment is toward the attitude of those people who, after (for example) Teatro degli Orrori, put a period and claim that the true Italian rock is all there, thereby nullifying the efforts of all those people trying to bring other valid realities to light in our country. And then I don't understand what 'sophisticated' means in this case.