Management del dolore post-operatorio
Auff!!

I don't know.

Maybe lately my tastes are all over the place (as my friend dot CAZdot says).

The fact is that this album by MADE DOPO, in very few words, I find slightly extraordinary.

In other words: almost a masterpiece.

And I will explain why.

I remember in an old review of mine on Capossela’s latest, I hinted at why I found even that album "slightly extraordinary".

I simply found it full of unexpected references.

For this album, it's the same for me.

The references are innumerable and hidden.

In fact, more than references, I would call them "associations" that listening to their very vigorous music and watching their concerts online provoke in me.

So let's start listing them, in full "The Aleph" by J.L. Borges style:

The early 70s Genesis, when during concerts, particularly those of the Foxtrot era,  Peter Gabriel would "go wild" on stage in his song-theater, and the others as if nothing happened would just sit down, simply playing, the Primus, their "cynicism", their frenetic rhythm and the one who dies with the car wrapped around a pole, Rino Gaetano and the Marquis La Fayette, "The Third Man" by J.L. Borges, the recitatives of Fabrizio De André, "Mario" by Enzo Jannacci, Modugno and "What are the clouds", Piero Pelù who wanted to put a condom on Vincenzo Mollica's microphone, the Litfiba of "El Diablo", the word plays of Marlene Kuntz and Franco Battiato, "Jonathan Livingston Seagull" and that "motor sailboat" trip during the military, "Honey Disease" and "I spit on today’s youth", the neutrinos faster than light, the first and the last Flaming Lips, the risks of the consequences of the economic crisis and trust in the state, Edoardo Bennato telling the police chief of Taranto to go to hell, "Viva la guerra", and other things, when exhibitionists got on my nerves, regardless, the damn bomb of Brindisi ...