Annette
Annette
17 jun 23

DeRank™: 34,78

Peter Case -
Give Me Five Minutes More

Wandering Days

Sorry, I couldn't decide, and I'm still not sure...
 
Martello
Martello
17 jun 23

DeRank™: 9,00

Since I've re-listened to Silvestri's entire discography while waiting for the new album, why not do something like in the old days and create a ranking of the worst broken down into various listens? Just for fun and because I don't have the time to write in-depth about the new record. No more preambles, let’s start the ranking:

10th, Il latitante
Nothing has changed; it remains his weakest album for a simple reason: it's his most forgettable record. It has a few songs that work, indeed, many songs do: Mi persi is an excellent start with its jazzy vibe and "existentialist" lyrics, La paranza, in its simplicity, is interesting for its text rich in multi-layered meaning, Sulle rive dell'Arrone is Silvestri's most mature song up to that point, Gino e l'alfetta is also easy-going but by no means obvious, A me ricordi il mare is special in its own way as a summer tune. These tracks are golden grains shining at the bottom of an album that is actually a black river like tar, which is neither petronio nor sludge; it’s not precious and doesn’t stick, it’s just dirty water. There are nice and well-crafted songs like Faccia di velluto, Il suo nome, Prima era prima, but they lack strength; they add to the tracklist but not to the listening experience. And then there's Che bella faccia, which transcends being forgettable and becomes almost irritating with each re-listen of the album, a jab at Berlusconi (rest in peace) that lacks punch and reduces to a nursery rhyme with no head or tail. Il latitante is well-arranged like all of Silvestri's albums, but it's the one where ideas are few and most of them are not even developed to their full potential. Considering that five years have passed between this and the previous one, it leaves a bitter taste knowing that all that energy was spent on something surprisingly understated.

The meticulous score: 4 ½

The song to remember: Daniele Silvestri - Mi Persi
 
sergio60
sergio60
17 jun 23

DeRank™: 6,00

Ingrandisci questa immagine
Air show for the centenary of aviation... All day with this kind of thing in my head...
 
sfascia carrozze
sfascia carrozze
17 jun 23

DeRank™: 33,87  Electroma

Red P*ILL*P

Nine Inch Nails-Happines In Slavery (Fixed)

or blue P*ILL*B ?

Happiness In Slavery

I’ll taste them both (at the same time, if desired).
 
IlConte
IlConte
17 jun 23

DeRank™: 12,00

The Rippers Texas Oil Bang

I find it hard to concentrate
Supersonic Sardo Garage...

The Reverend says so too.
 
IlConte
IlConte
17 jun 23

DeRank™: 13,78

The Incredible Staggers - "Little Girl"

Almost unbeatable… especially the girl from the audience
@[DaniP]
 
Confaloni
Confaloni
17 jun 23

DeRank™: 7,82

Umberto Bindi - Il nostro concerto
A memorable piece, an author to rediscover.
 
Stanlio
Stanlio
17 jun 23

DeRank™: 12,00

Hey @[Marin], are you going to ruin it?

I’m a bit in Vicenza when I remember better than a little cat...

WHEN I BELIEVE Enzo Avitabile
 
DaniP
DaniP
17 jun 23

DeRank™: 20,24

LES LULLIES "Dernier Soir" (Official Music Video)
LES LULLIES "Zero Ambition" (Official Music Video)

Born from a rib of Les Grys-Grys, Les Lullies shifts from beat to punk, carrying forward the radical garage attitude of its progenitor. "Mauvaise Fois" is the second LP, five years after the debut album, and it feels like the classic transitional album: frenzy gives way to maturity, punk to power pop, English to French. It promises great things.
 
IlConte
IlConte
17 jun 23

DeRank™: 19,78

GET LOST! - never come back - FULL ALBUM

Maybe I posted this a while ago, I don’t remember well savansadir, but for enthusiasts, this is noteworthy stuff.

Recorded in just four days, Never Come Back is the “comeback” of the Miracle Workers that everyone has been waiting for since Inside Out. As if everything that happened after that record never existed, Robert Butler and Gerry Mohr find themselves almost by chance in Switzerland and decide, together with another American refugee (currently with the Jackets) and Kat Aellen, who was already by Butler's side in Bishops Daughter, to set up an impromptu project that sounds like the Workers did back in the Moxie days, more than fifteen years ago. The resulting album is a crunchy old-school garage punk record, where everything that spills over is fermented in fuzz, and every note seems to take us back to the times of Gravedigger Five (the cover of Spooky), Gruesomes (the fun yè yè of Mdmation), Chesterfield Kings (the Hey Tiger by Topsy Turbys already in the repertoire of the Cavemanish Boys and which here reaches absolute splendor), Fuzztones (the creepy and sinister Elevator that closes the album), Morlocks (their version of One Way Ticket is absolutely devastating), Tell-Tale Hearts (the Dutch beat muddied by Outsiders and Q65’s Love Is a Garden).

In short, it’s like having to compile a collection of the best neo-garage from the Eighties and finding it already ready.

Convenient and devastating.