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Journal RSS journal posts · 2020 · 2019 · 2018 · 2017 · {and before that

Blessed Child Opera

Happy Ark

https://www.inkoma.com/k/1231

(11tx cd, 55'40" - Delta Italiana / CNI rec 'o6)

 | pall youhideme
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Gruppo forma mentis di Paolo Messere al terzo capitolo, già precedentemente attivo con Ulan Bator, il disco Happy Ark è pregno di matrice romantica britannica benchè nostrano: riflessivo, sognante, e ridondante di poetica, - scelte coraggiose di romanticismo (e originali visto il contesto nazionale di provenienza) per alcuni passi accostabili a Verve, Tindersticks, per le partiture eleganti, ricercate e narrative. It's Possible Something, come le trombe di Humiliating Whine, tocca nelle digressioni strumentali sicuramente le note più estatiche della catarsi dell'album, ottimamente prodotto nei suoni e controllato. - Personalmente trovo la falla di questi 55 minuti di poesia e ascetismo tra ballad pop e slowcore proprio nella difficoltà di non uscirne con un pezzo più veloce che segni la differenza in tutta questa coltre di malinconia: - è un bel disco, ma l'intero ascolto risulta stucchevole nella linearità del suo pathos.
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Blessed Child Opera is Paolo Messere's forma mentis (previously with Ulan Bator), at its third chapter, - Happy Ark is rich of a british romantic print notwithstanding it's from italy: reflective, dreamy, and flowery poetry, - courageous choices of romanticism (and unorthodox, seen They're from italy), for some movements close to The Verve, Tindersticks, - because of its elegant songwriting, fancy and narrative. It's Possible Something, as well the trumpets on Humiliating Whine, touches for sure in its instrumental digressions the more innermost ecstatic catharsis of the whole album, fairly good produced with sounds and well balanced. Personally i see the vice of these 55minutes of poetry and ascetic between ballad pop and slowcore music just in the lack of a quicker track, able to sign the difference in all this blanket of melancholy: - it's a good release, but the whole listen turns cloying in its one-dimensional pathos.
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