The Casio keyboard gifted for communion (or at most for confirmation) evokes a childhood déjà vu where we knew what colors meant. Choosing, after studying them all, the rhythmic option by pressing the button of a newborn electronic selection, what a dive into reminiscences it offers, pushing a reverberation into the aortic cavities.
Robert tells us about the deceit of the matryoshkas we are, showing us his dolls all of the same size, a mystical socialism. There is no more suggestive interpenetration reflex, there is thus a disappearance into truth, a social denunciation mystification is revealed by impersonal disgust filtered through combative ethereal detachment.
The lullabies enchant with their fresh immediacy and do not fall into the trap of responding to the tempting violence but offer the other cheek with a material beatitude, tangible for our feelings.
Where the urgency of Rock Bottom is devastating in the speed of Wyatt's drastic change in suffering, here the omelet has stabilized at the speed of light of eternal immobility; and Robert revels in the baptism of this first bath, after the amniotic fluid, where he draws us into this conscious drowning of the fears of recalling the beyond.
But gills, like wings, grow friendly in this comforting nursery. Human concord is all that resonates upon listening... Does that seem trivial to you?
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By Socrates
The best quality of "Old Rottenhat" ... is in the ethereal and essential musical compositions, but endowed with a rare and enveloping warmth.
His undeniable skills as a composer and singer are even more highlighted; and even the verses, significant and passionate, ultimately dissolve into the liquid flow of the irregular and sinuous melodies.