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Aloisio said in Marzo 19th, 2009 at 16:29

Io ne ho ordinate dieci copie.

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B16 said in Marzo 19th, 2009 at 16:34

se aspetto qualche mese e vendo i biglietti degli U2 riesco a comprarmene un sacco anch’io..

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Generale Lee said in Marzo 19th, 2009 at 16:48

ANCHE IO DIECI COPIE!!!

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buzzandmusic said in Marzo 19th, 2009 at 18:31

MA SI DAI ,LE FACCIAMO DELLA PUBBLICITA’ CI DANNO MILLE DOLLARI E CE LI MAGNAMMO E BEVEMMO TUTTI ALLA SUA SALUTE:-))COME DIRE……FACCIAMO UN CIN CIN DELLA MADONNA:-)))AH AH AH RAGAZZI BIRICHINI E ROCKETTARI,UNA NE DICO E CENTO NE INVENTATE…………….

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Harcan said in Maggio 8th, 2009 at 16:29

Con la vostra spocchia sottoscrivete solo una miopia ignorantella e superficialotta.

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buzzandmusic said in Maggio 8th, 2009 at 16:47

Nessuno del rock caffe’ ha spocchia e quindi democraticamente pubblico il suo messaggio Mr Harcan e la ringrazio.I risultati del blog pubblicati qui ogni fine mese indicano tendenzialmente l’esatto contrario di quello che lei asserisce.Quasi 400 visite al giorno di media giornaliera e 857mila contatti da settembre 2008.Non sono male per un blog fatto per hobby ……..le persone che spesso e volentieri scrivono qua provengono dal mondo della musica e sono,chi in un modo e chi in un altro,coinvolti appassionatamente nel dibattito,nel ricercare notizie,recensire concerti e dischi,portare beneficio di tutti ,compresi gli utenti estranei come lei informazioni utili dal mondo della musica.Se tutto quanto e’ stato riportato in oltre 2000 pagine e 950 commenti e’ da lei ritenuto ignoranza miope e superficiale a noi dispiace ma ci sentiamo in dovere di dirle che dissentiamo.Che le cose le siano buone,musica compresa.

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Alien on Acid said in Maggio 8th, 2009 at 17:14

Hurcokan!

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Alien on Acid said in Maggio 8th, 2009 at 17:22

A.R. Kane: 69/i (Rough Trade; 1988)

Initially dismissed as “the black Jesus & Mary Chain” by self-amused, callous critics, London’s A.R. Kane still languish in formidable obscurity. More upbeat and psychedelic than the Reid brothers’ chainsaw monotony, the duo’s early EPs– partially produced by the Cocteau Twins’ Robin Guthrie– outlined the breathier bliss that would define the UK’s shoegaze craze (though the band always referred to their music as “dreampop”).

Embracing dub, soul and paisley pop, A.R. Kane pushed boundaries most of their contemporaries completely ignored. Open to any and everything, they moved past dreampop in 1987, collaborating with 4AD labelmates Colourbox on the scratch heard round the world: “Pump Up the Volume”. But no matter how often their name appears in discussions of that decade-defining track, and even discounting their contribution to a genre that draws so many obsessive fans (shoegaze), it seems the world won’t listen.

“Anitina”, the thundering flipside to “Pump Up the Volume”, wasn’t a collaboration, and was billed as an A.R. Kane track, but 1988’s 69 LP revealed that its unreal boom-box beat was a red herring, aimed at selling the uninitiated on feedback and dizzy vocals. Though hugely influenced by the Cocteau Twins’ mid-80s peak, 69 drew equally from dub’s disregard for sonic structure, disappearing into distant echoes that strikingly predict the succulent Seefeel. Unfortunately, history’s been unkind to the dinky drum machines that open 69; “Suicide Kiss” predicts heavier shoegaze acts like Swervedriver and the God Machine, but it and “Crazy Blue”– at the time the record’s catchiest tracks, and consequently sequenced first– are awkward anachronisms. 69’s reputation owes entirely to the minimalist syncretism that follows: Sunny watercolors (“Baby Milk Snatcher”, “Scab”) give way to damp concrete (“Sulliday”), ushering in the album’s hallmark, the oddly titled masterpiece “Spermwhale Trip Over”. A singular influence on Bark Psychosis and the aforementioned Seefeel, the track’s present-tense update of the Cocteau Twins’ ethereal elegies is perhaps the group’s defining moment.

Many critics consider A.R. Kane more academically than aurally crucial, and, limiting the discussion to their first-wave full-lengths, there’s some truth to the argument. i, the duo’s 26-track swan song from 1989, is needlessly bloated by ten interwoven sound snippets, each a distraction more than an interlude. With only slight cynicism, one could brand the soundscapes suspect misdirection, when you consider the drastic shift toward clearer production and pop choruses. The minor UK hit “A Love from Outer Space” borders on Club Nouveau in its synth-pop radio-readiness, which in itself isn’t crime, but, paired with Lisa Stansfield techno pop (“Snow Joke”) and a direly overproduced ballad owing as much to Foreigner as Elizabeth Fraser (“Sugarwings”), i is, on sober reflection, a stylistically incontinent album.

Rudi Tambala later confessed, “When you’re young, pride is a deadly thing. We didn’t give a shit, we were totally self-indulgent.” While it worked for Rudi and Alex Ayuli at the outset, their unchecked ambition became a fragmentary force, diluting i irretrievably. Were it not for the redeeming excellence of the album’s last movement (the tracklist is divided in quarters), trumpeters would have a hard time convincing anyone of A.R. Kane’s genius. The mounting simplicity of “Down”, however, is too gorgeous and prescient to ignore. A long-celebrated rallying point for the nascent shoegaze movement, “Down”, and its raging partner “Supervixens”, deliver on the promises 69 made to the underground, shepherding them from C86 jangle into sensual, reverb-drenched atmosphere. Closing with some fine and druggy hotstep reggae (the acid-drenched “Catch My Drift”) and the hilariously audacious lights-out sample “I just challenge anyone to listen to them and not cry!”, i leaves you aching for another sip of its last quarter, and not a little sorry for A.R. Kane, who never gave their vintage time to ferment.
– pitchfork –

non è uno scherzo, “A Love From Outer Space” è un grandissimo e indimenticabile pezzo

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Generale Lee said in Maggio 8th, 2009 at 17:33

AAAAAAAARRRRRRRRRRRRRRGGGGGGGGGGGGGGHHHH!!!!! BELLISSIMO!!!!!!!!!!!!!!!!!!!!!
MITICOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!
MEI COJONI!!!!!!!!!!!!!
CHI ERA ….LA TIGRE ARKAN?????????????????

AUUUUUUUUUUUUUUUUUUUUUUGGGGGGGGGGHHHHHHHH!!!!!

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buzzandmusic said in Maggio 8th, 2009 at 17:42

non so chi sia questo giovane e baldanzoso accusatore ……..sentiamo cosa consiglia Alien e dedichiamoci alla ns comune passione,augh e rock on

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Alien on Acid said in Maggio 8th, 2009 at 17:55

Caro Generale: Attenti Ar Cane.

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buzzandmusic said in Maggio 8th, 2009 at 18:00

Bau bau miao miao,ciao ciao

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buzzandmusic said in Maggio 8th, 2009 at 18:01

Bau bau, miao miao,ciao ciao

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Aloisio said in Maggio 8th, 2009 at 18:16

Alla Sora Ciccone preferisco la Sora Lella.

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Alien on Acid said in Maggio 8th, 2009 at 23:00

A parte tutto, personalmente trovo che la sciùra Ciccone, sia una brava artista. Dunque tanto di cappello a lei e alla sua intelligenza di donna che, nata Ciccone si è saputa inventare Madonna e mantenere con questo logo, oramai da tanti anni, sempre ai vertici delle hit mondiali.
Trovo invece penoso lo scattare isterico e risentito, sempre e ovunque dei fan della sciùra in questione, ogni qual volta si imbattono in qualcuno che si vuol benevolmente divertire, alle spalle dell’artista da loro idolatrata.

ps: Giusto per impattare con “ignorantella e superficialotta”, aggiungo che davanti a “isteriche”, avrei voluto scrivere un altra parolina ma, non l’ho fatto anche se ormai, giusto per tigna, lo penso tutte le volte che m’imbatto in fenomeni dal commento acido e soprattutto assolutamente devoti, all’anonimato…tutto questo, lo ripeto, giusto per impattare, ma cazzo, meglio i Legnanesi di certa gente!

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buzz said in Maggio 9th, 2009 at 09:23

come vi capisco cari Alien ed Aloisio :-))Portiamo pazienza e saremo beatificati………..

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B16 said in Maggio 10th, 2009 at 23:53

….sarà lui…???

http://www.hotfrog.com.au/Companies/Harcan-George

ma la sora ciccone cosa ci ha dato? siete caaaldi? quando mandarono il concerto di torino in tv ero piccolo e mi colpì, oggi se ci ripenso e rivedo le immagini si passa alla festa di paese, nobilitata magari da qualche superstar di amici…. impressionato lo sono stato dalle messe in scena, mai dalla musica, l’eco sfocato di quel che tira al momento aggiustato quel tanto che basta per essere sia di qua che di là, tanto assurdo e tanto calcolato da avere corsi universitari dedicati. a chi ha successo solo perchè bravo manager di sè stessl non riesco ad affezionarmi, a quelli che costruiscono la propria fortuna raccattando in giro quello che si sente da anni ed ormai sul punto di scoppiare propagandolo come propria verità… inutile continuare visto il successo inarrestabile del “vuoto” di cui la sora ciccone è fiera portabandiera erotica materialista new age elettronica rock sudamericana zingara ginnasta scrittrice stilista coreografa… E NON SE NE ACCORGONO NEMMENO, LA BEVONO SEMPRE E TI DANNO DELLO SCEMO O PEGGIO DELL’IGNORANTE SE CI SCHERZI SOPRA!

Everybody knows that the dice are loaded
Everybody rolls with their fingers crossed
Everybody knows that the war is over
Everybody knows the good guys lost
Everybody knows the fight was fixed
The poor stay poor, the rich get rich
Thats how it goes
Everybody knows

Everybody knows that the boat is leaking
Everybody knows that the captain lied
Everybody got this broken feeling
Like their father or their dog just died

Everybody talking to their pockets
Everybody wants a box of chocolates
And a long stem rose
Everybody knows

Everybody knows that you love me baby
Everybody knows that you really do
Everybody knows that youve been faithful
Ah give or take a night or two
Everybody knows youve been discreet
But there were so many people you just had to meet
Without your clothes
And everybody knows

Everybody knows, everybody knows
Thats how it goes
Everybody knows

Everybody knows, everybody knows
Thats how it goes
Everybody knows

And everybody knows that its now or never
Everybody knows that its me or you
And everybody knows that you live forever
Ah when youve done a line or two
Everybody knows the deal is rotten
Old black joes still pickin cotton
For your ribbons and bows
And everybody knows

And everybody knows that the plague is coming
Everybody knows that its moving fast
Everybody knows that the naked man and woman
Are just a shining artifact of the past
Everybody knows the scene is dead
But theres gonna be a meter on your bed
That will disclose
What everybody knows

And everybody knows that youre in trouble
Everybody knows what youve been through
From the bloody cross on top of calvary
To the beach of malibu
Everybody knows its coming apart
Take one last look at this sacred heart
Before it blows
And everybody knows

Everybody knows, everybody knows
Thats how it goes
Everybody knows

Oh everybody knows, everybody knows
Thats how it goes
Everybody knows

Everybody knows

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buzz said in Maggio 11th, 2009 at 12:22

dubito che il ns interlocutore tornera’ a postare sul blog:-)

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