Influences: Michele Mininni

This is one of the finest examples of geniality in music. A group from Boston that in 1996 created this masterpiece of visionary music. I remember the first time i listened to this album: i was totally shocked. Drunk singing, dissonances, feverish atmosphere. 70 minutes of pure joy that can catapult you into another dimension, where objects are deformed and time is slowed down, like a dream. A touching dream.

I think that this album is more a book of philosophy then a music album. The representation of human drama translated in music. It’s the kind of music that works with images in your head. Like the descent into the meanderings of the human soul through sketch similar to a bizarre cabaret. I remember i listened this album when i was 20, in my room: closed shutters, closed eyes, open mind.

“Rock Bottom” is probably the best rock album of all time. This is only my opinion, of course.
This album was created after the dramatic accident that involved Robert in 1973, and here you can find all the experiences of suffering. (Have you seen the stunning artwork?)
This track…what i can say? It kills me every time. This is not a track that talks about suffering, this track IS suffering. This is the exaltation of harmony in chaos, where all the elements are parts of a metaphysical trip into our fragility.

The most amazing thing about this album is its modernity. Every time i think it was released in 1975 i’m astonished. It could be stored in a glass bell while we’re await the arrive of the aliens to show them the perfect example of “popular music” (Please listen “Golden Hours” and call the aliens).
I love the hybrid spirit between the first ambient suggestions of Eno and the perfect construction of his “pop songs”. An album full of sketches that are like the brushstrokes of a painter, all together to give form to a an immortal, classic painting.

The ascent to the cosmos. Simply: picture music. The momentum of teutonic spirit which manifest itself through an electronic quadraphonic symphony.
You can find here elements of Wagner, gothic suggestions, intergalactic holes, all sublimated in a dramatic organ that forewarn an imminent tragedy.
It’s descriptive music, at it’s best.

Yume Bitsu means “dream beats” in Japanese, and well…this is a psychedelic dream.
Try to listen this 18 minutes jam when your airplane take off: you’ll see the land become distant and the objects become smaller, and smaller…This kind of elevation makes me cry every time i listen this tune in my headphones and i see the earth distant…from a different point of view.
It’s like getting away from the banality of the everyday things to embrace the beauty of the sky.
This is the perfect soundtrack of mercy.

I remember the first time i listened this track on my cd player the same day Amnesiac was released. I was astonished, the typical reaction when you are 20 years old. An absolutely strange and original melody (listen to the piano version also) but the magic is in the arrangement: the arp in reverse that reminds a rotary plates makes me crazy every time. I adore the crescendo and the vocal of Thom Yorke that suspends you in an unknown limbo. I love the video too.

This is not a song: this is an hallucination. It’s like a song coming from another planet.
It’s alienated, paranoid, claustrophobic, hypnotic, the classic song that deforms traditional genres under a new sensibility. How much futuristic was this tune in 1977? The obsessive and pounding rhythm makes a rug for the mockingly voice of Alan Vega that seems to whisper to our bad conscience.
Simply revolutionary, simply the true spirit of pioneers.

A – A – A – A – A – A – Aaaaaargh! Avant-garde that will be forever avant-garde. It was avant-garde in 1982 and will be avant-garde in 2030. A track out of time. A classic.
Time seems to stop. It’s the kind of music that “breaks” the silence in accord with it.
It’s an alien soundtrack, the requiem of a robotic civilization emptied of all kinds of emotions.
We usually are stupid and we want to label everything: well, this track is “post” everything.

Ok, a recent track. I consider “The Inheritors” one of the best LP’s of recent times, and this is one of the tracks i love the most. The perfect example of James Holden’s garage-synth style and a brilliant example of the term “epic” in music. Here we can find the James Chance and the Contorsions no-wave spirit filtered by a modern and synthetic sensibility with a crescendo a la Morricone. My perfect modular western.