Cornell

Simple, effective, crooked at just the right angle, I stand corrected...

Great PABLO! I like your style (and also the Black Flag, this is the story amigo, the story hell!)

@Romeo: no one questions Alexia's vocal qualities; you must be deaf to say that the girl has an ugly or weak voice. Nature has given her this gift (though it took away her height...), but the question is: couldn't she have used her voice better and oriented herself towards something less gaudy, trivial, and predictable? If you were born in '85, that means you're 24 years old, so why are you wasting time on this stuff?

Set yourself on fire, you and Alexia.

No, I mean... Marco Carta a breath of fresh air? May this breeze freeze your balls! When I hear things like that, it sends sperm to my toes... Let me explain right away why it can't be as you say, actually the exact opposite:
Marco Carta has an extremely old-fashioned way of singing; he is reminiscent of the standard set by Claudio Baglioni (who is now almost sixty and has been on stage for thirty years), and honestly, he's sliced me up quite a bit because his low tones are exactly the same as those of the national Claudio.
His diction is forgettable, his range is as well, and the timbre (the very thing that people praise him for) is no more and no less than that of another 1,500,000 singers out there.
He has such an anonymous voice that one can only wonder why he overwhelmingly won that crappy show known as Amici. In theory, from this putrid transmission, future talents should emerge, people who have worked hard and sweated for years, studying until exhaustion, but I have never seen any talents come out of that unhealthy factory of buffoons. Look at poor Dennis Fantina, the winner of the first edition, now forced to apply to get back to working in a factory. This is what Miss De Filippi brings about, exploiting you for her interests and then flushing you down the toilet.
A guy who can fit in one disk "E tu", "Vita", "A chi", "La donna cannone" and another cover, for a total of 5, all pieces that I would dare say are brand new, so a breath of fresh air doesn’t seem like it to me… Or am I mistaken? I await arguments to dismantle my thesis.

Well, I still don’t share the opinion of many that the Festival should be dismissed and labeled as crap from the get-go: if I can, I’ll watch it, whether it sucks, just for the pleasure of saying: what a shame about Italian music and its biggest manifestation, always the same faces, the same names, the same old relics, the same damn little songs, can you believe these guys and their ridiculous faces, thank goodness I listen to other stuff! And then there are editions, like the one with Quintorigo, where I was curious to hear the audience's reaction to that ridiculous face of John De Leo and his astonishing voice, and like this year, I was curious to see what the Afterhours would do, and I found myself watching a fresh, fast, enjoyable edition (you can’t really make a sort of Gods of Metal or Lollapalooza, come on..), well presented, with other pleasant surprises besides the Afterhours.. Bonolis took a million euros? Damn, I’m glad; he did nothing but good to take them, and he presented a manifestation that was almost dying and six feet underground decently and in a way different from all the past editions.

Captain, I mean paraculo not as in recommended, but as one who knows how to seize the moment to ride the wave. I might be mistaken, but at a time when the After seemed to be nearing the end, Manuel hooked up with Greg Dulli and tried the "I'll give it a shot in America" card; in fact, Ballate per piccole iene was released in two versions, Italian and English (for the American market if I'm not wrong). Bonolis says he personally wanted them at Sanremo but... They could have just told him, "Paolo, look, with all the goodwill in the world, absolutely not at Sanremo, we're sorry, we still have some dignity." Then in that context, the piece was definitely revolutionary, but if I were Agnelli, before performing in front of Del Noce and the lovely company who are looking at you confused and a bit grossed out in the front row, without the satisfaction of pissing on them, I would have chosen not to participate. The critics' award was also given to Quintorigo, the ultimate revelation band back then with their strings, brass, and voice proposal... For me, it's a joke, in the sense of "You've really been great and you're a few floors above the others for musical innovation in this festival that has been stinking of corpse for years, we give you this award that is worth nothing, but at least you're happy too." I'm doing well, thanks dear, a bit tired and with allergy-induced cold from the spring coming, but all good... I'm glad to see you back on Debaser, I always enjoy reading your writings. See you soon!

I'll save them for you until "Così com'é," if we really want to exaggerate...

"We start with 'aumentaci le dosi', a purely hip hop track with a deliberately 'disturbing' beat (the chorus, for example, is a mix of scratches and sound effects) crafted by THG, the DJ of Gemelli DiVersi, who here unleashes his inner hiphop artist, a side of him long suppressed due to his band’s more pop and melodic style." I stopped here, then the Christmas lunch of 1989 came back to me and I vomited in annual sequence until 2008 included. But go fuck yourself and J-Ax! The little fool had two options after the first two albums of Articolo 31: continue in that vein, but the genre was already dying, or form a band like Rage Against the Machine and lash out against the system (and in my opinion, he had all the potential to do it). He chose to become a mockery of himself, may his soul rest in peace.

Well, what can I say.. The Afterhours are a valid alternative music group in this sad country, they are light years ahead of many, and that must be acknowledged. But Mr. Agnelli, I'm sorry, I just can't stomach him, both as a person and especially as a singer; his voice leaves me completely indifferent and annoys me at times. One thing is certain, he is a great opportunist. The song can be positively evaluated in the Sanremo context, but I have to say it’s an unbearable tune, quite ugly. The lyrics are light years ahead of the rest of the crowd; it’s not the usual verse-chorus formula, it’s a sort of poetry, but just having good lyrics isn’t enough to make a great song. The review is definitely much better than the piece. Regards..