It's the most anticipated album in the history of British discography. The numbers say: the first day of its publication, August 21, 1997, well 424,000 people went into a record store to buy "Be here now" by Oasis. "25" by Adele he did not go anywhere near. If the Beatles were "bigger than Jesus," according to the unfortunate definition of John Lennon in 1997, the band of the Gallagher brothers was "greater than God", as he said with extreme modesty Noel. But "Be here now" is the disc in which the splendid band mechanism misfires. The s'irrobustiscono arrangements and s'appesantisce step. Vanish the fabulous naturalness and lightness of the successes of the first two albums "Definitely maybe" and "(What's the Story) Morning Glory?", Replaced by a layered sound and rattling from war machine that lives on today in the deluxe that distributes 3 compact disc the original remastered, rarities and demos. It is also a "drug records", designed and produced in a turbulent period in the life of the Gallagher brothers. "The strategy of our management team," said Noel, "was to work the band at all costs. If he did not, it would fall to pieces. "
Oasis live in hyperspace, in those years, and in fact the album's story began with a holiday in Mustique, a private island in the Lesser Antilles, the goal of exhausting stays of millionaires looking for posh landscapes, from David Bowie to Nick Mason Pink Floyd, and today as well HRH Kate Middleton. There, in the villa of Mick Jagger, in early 1996 Noel Gallagher tried to force the writer's block he suffered a series of hacking demo with co-producer Owen Morris. Contained in the third CD of this new edition, the Mustique specimens relative to the pieces of the album and b-sides are the highlight of the reprint, at least from the point of view of the rarity of the same, and allow us to peek if not birth, at least the first steps taken by the songs. However, this is demo: finished better than others that are heard in deluxe editions, actual performance-driving, but they are still specimens with all the instruments played by Noel except in "Fade in-out" where the slide guitar c 'it is another celebrity who was enjoying the Mustique with Kate Moss, actor Johnny Depp. There is also a small yellow: "Trip inside (Be here now)" in the American version, at least that of iTunes, is a demo of the title track, an instrumental and European sides of least account.
The second disc contains the b-side (not all, however: there is for example the cover of "Heroes") and curiosities related to the album including a new mix of the single "D'you know what I mean" done by Noel Gallagher. "As the years passed," the guitarist says, "I started to realize that the songs of 'Be here now' were too long ... too long! Someone (I forget who) had the idea to recast the whole album for posterity. We just finished the first song, then we did not give anything and we dropped. " Among the debut of "My big mouth" at Knebworth and a piece like "Flashbax" that an attack on the Counting Crows (really), the second CD of the album provides confirmation on the nature and quality of the sides B era type " Stay young "or" Going nowhere ", but no real surprise. And the version of "Help" by the Beatles, where Noel playing at home, is not memorable. Among the curiosities, a "Setting Sun" by The Chemical Brothers for voice and guitar version recorded in July 1997 at Radio Deejay. If nothing else, in "The Hunger" is no exact definition of fame and debauchery, for those exact circumstances it means: "Do you laugh while you're sitting there you will drink champagne, and the others laugh at your despair while snort cocaine. "

Gone the great exploits, something still continues to move among indie rockersd'Inghilterra. Among the stars of the golden age, the Kaiser Chiefs, after the case of "Ruby", continued their adventure, but never repeat the success of 2007 and, indeed, indulging in a couple of slips. In fact the Leeds quintet was holed up readily in its natural groove, namely that of "Brit pop / rock pleasant" cradle of so many British bands by individual splits charts and mixed results. With the latest "Stay Together", the most combative mood was closed and double-locked elsewhere to make way for a more festive sound and up to date.

Evidently something of the experience as a vocal coach for "The Voice UK" to discover young singing levers must have influenced Ricky Wilson to veer towards more alluring sound, projecting his team in a very different light. An evolution in some natural way after the abandonment of the drummer and main songwriter, Nick Hodgson, but in hindsight has not yet found its right square. In fact from a formation that bears the name of a football team (the Kaizer Chiefs Football Club of Johannesburg, for the record) is easier to expect agreements on power chords so much beer in tow, instead of keyboards and electronic instruments on which to rack , activities that the Kaiser Chiefs succeeds only in part. The single "Parachute" - defined by the authors as their second love song ever written in addition to the most famous piece of the repertoire - was a clear sign that something was changing in KC home and confirmation came the next "Hole in my soul ", crackling and healthy carriers tracks of a renewal that you would expect from a band that through thick and thin has more than ten years of activities in the curriculum.

The colorful pop tones is accompanied by a whole new maturity of the quintet that, putting aside their best Anglo-Saxon vein, focuses on human relationships with pleasure-seeking spirit, complicated and unique as essential. "Stay together" does not fail to point his attention to personal dynamics on the ordinary clinical eye, the joys and the sorrows of married life, and a gracious invitation to monogamy - sacrosanct choice but little inclined to make an album by revelers tones. Passed the most of the previous "Education policy stage, education, education & war" now the focus has shifted on the subject of relationships, the difficulty to remain united, and overcome - together - the daily difficulties. A concept that is a bit 'to blows with the current British situation, given the stagnant feelings of disappointment and uncertainty for the future, now that the UK has turned its back to the Union and that, probably, would have merited some reflection most convincing seen their commitment over time by Kaiser Chiefs as direct observers of their eccentricities of islanders (and blocks) in Europe.

Unfortunately, the atmosphere of joyful lightness and production of Brian Higgins (already working with the Pet Shop Boys and Sugababes) does not make this new course a safe bet. In the long run the breakthrough adult-dance by retro tones betrays a certain artificiality of the bottom, weighed down by a string of rather anonymous songs which dampens the attractive touch of those who save the cabin. Not just experimenting with falsetto, samples and straight cash to stay davveroinsieme, especially if it requires more attention when resurface the strong roots of the sound that has made them known to the world ( "Good clean fun"). So, as always, there is still much to do to get up there where they dare Coldplay.

"Collapses, the walls," reads the teaser of the new album by Kings Of Leon, the seventh in their history. That exaggeration. Here there is no wall that falls, no revolution. "WALLS" is the album of a group of good conservatives, but actually there is a novelty: the band of the Followill hath been challenged to do things differently, uscendosene with his weirdest and gloomy job. After entrusted for years with Angelo Petraglia and Jacquire King, came out of his comfort zone and recorded in California with Markus Dravs, producer of Arcade Fire, also known to have got their hands on Coldplay discs, Mumford & Sons, the 'last Florence + the Machine. But "WALLS" is definitely less disturbing than it suggests the cover that reminds those of "Is there anybody out there" by Pink Floyd and "Byrdmaniax" the Byrds, with the four faces of the musicians represented by wax reproductions great little more than an inch and immersed in a milky liquid. In short, this is not the "Reflektor" by Kings Of Leon, but even "Mechanical Bull", which, it was said here, photographed them "happily conventional and relaxed in their own comfort zone."

With a career to revive - according to Billboard, in the US the last three albums have sold 2.5 million in chronological order, 776,000 and 347,000 copies - the Kings Of Leon say they have put behind the excesses of the past, stuff midway between "the dirt" and "Spinal Tap", and have re-established good relations between them after reaching the breaking point. The result is a mainstream disc without eccentricities and even embarrassing winks, maybe a little bold, but well-written, absolutely solid, which gives the public what the public wants and while advancing a modest assumptions of renewal. It is less rock'n'roll and definitely more cool than the last, it is not stuff to listen with a supply of beer cans. Begins conventionally with rock from the "Waste stage moment". S'ascoltano then guitar finishes that do not stonerebbero in a new wave disco, things lapping territories U2 ballads and impressive as that piano that gives title to the work, and it ends happily. But there are, also, small oddities for the group as Latinized "Muchacho" and the funk-rock "Around the world" that brings the quartet to the territories of Franz Ferdinand (or Talking Heads, if you want a more noble reference).

Become a symbol of the rock under 40 who still goes back to classical models, the Kings Of Leon "WALLS" remain after all faithful to this narrative. Piazzano rockettoni epic and slightly bohemian enough to satisfy those who would like them equal to themselves, but they take little freedom-effected guitars, some slight mechanical rhythm, an old synth, echoes and reverberations. The singer Caleb Followill says the happy period which is going through and in the texts, however, provides a nice sample of anxieties. Even "Muchacho", leggerina song at first listen it is hard to take seriously, about a co-worker and friend, "my favorite", died of cancer. There is the story of a waitress who travels from Texas to Hollywood with many dreams for the head, or "Waste A Moment". It is the true story of the wife of the singer who wants to move to California, and then change your mind. It's called "Conversation Peace", it is one of the highlights of the album, has a bittersweet guitar storyline and stubborn, very classical and quite effective harmonic idea.

And again, there is the dramatic story of the man who hangs himself in the garden of his villa, a kind of alter ego of fragile Followill overwhelmed by too many drugs and a history that is falling apart ( "Over"). It is a tribute to Blaze Foley, country singer murdered in 1989, just 39 years old, genius and beautiful loser, in the definition of Lucinda Williams ( "Reverend"). But the most bizarre story is probably that of "Find me" where a girl - inspired once again to the wife of Caleb, model Lily Aldridge - falls in love with a ghost that haunts in a hotel room in Los Angeles. It is air paradigmatic you pull on this record: the Hotel California of Kings Of Leon is disturbing as much as that of the Eagles. "WALLS" is also an acronym that stands for "We are like love songs", a seemingly harmless and positive statement, but this album is made of broken dreams, ghosts and death.

Lady Gaga is the only rock stars of the 2000s, for attitude: rebellious, provocative, exaggerated, over the top, with an extraordinary creative impulse. His career to date has been stunning theatrical work, playing with a bang almost ten years ago with "The Hunger" and carried out successfully with "Born This Way". Then, however, the star of incredible play he wanted to do the longer wheelbase of the leg: exaggerated, in fact, like any self-respecting rock star. He did this by publishing "artpop", a record that has blasted the chair viewers: an album inetichettabile, too often misunderstood and undervalued, a crazy flop in terms of sales (2.5 million copies sold around the world, virtually a sixth of those sold by "the hunger"). "It's over", "Failed", "He has nothing more to say," they said to her, who by then "cleaned up" the image preparing a standard jazz album with Tony Bennett.Now, after three years away from "Artopop", comes this new (highly anticipated) work in the studio rock star Lady Gaga: "Joanne". A return to the hit scalaclassifiche the first two albums, after the flop of "Artopop"? I miss at all: "Joanne" is another theatrical act of the opera to which we referred above. The fiasco of "artpop" had brought the American singer-songwriter astray: Gaga seemed to have lost, disoriented ( "I confess I am lost in the age of the company," she sings in the final piece of this album, "Angel Down"). When he started writing, he began to dig into his past and the past of his family, rediscovering the history of Joanne Germanotta (hence the title), a dead aunt to 19 years for lupus. He gathered around him a small circle of collaborators - including producers and musicians - and when it was time to return to the music, he preferred to stake everything on a more pure and genuine: the new album release was preceded by a tour which saw Gaga perform in some small local Americans, as if to start from the bottom.
"Joanne" is an album in which the attitude rock'n'roll Lady Gaga strips and strips, musically speaking, showing us his most emotional and personal side (in "Diamond heart" also makes a reference to sexual abuse suffered 19 years). The album, produced by singer-songwriter with Mark Ronson and BloodPop (with the participation of Kevin Parker of Tame Impala, Jeff Bhasker and Emile Haynie), is unsettling: rather than returning to Pezzoni dance-pop of the early years, Gaga seems to have taken yet another new path. In terms of sound, the album brings together episodes closer to pop-rock ( "Diamond Heart", "Perfect illusion"), the country rock and indie rock ( "A-YO", "Joanne", "Sinner's prayer "- with the hand of Father John Misty), country blues (" Come to mama ") and the piano ballad (the beautiful" Million Reasons "and" Angel down "). The electronics is there, but is relegated to the background, with worldbeat M.i.a. in style of "Dancin 'in circles" (there is a hand of Beck) and the duet with Florence Welch of "Hey girl", but it seems to be closer to certain productions 80s Prince and Michael Jackson rather than to hit tamarre the first Lady Gaga.
In one of the best moments of the previous album, the chorus of "Aura", Gaga sang: "Want to see the girl who is behind the aura, behind the curtain, behind the burqa?". And he'd done it almost see, that girl who was hiding behind the curtain: But, then, the veil does not split open. Now, however, the burqa lets it fall to the ground and does nothing to pick it up and become covered: Gaga shows us his pure face, his eyes and his "Diamond heart". "Where's the catch? Where lies the deception? His fans will understand this latest breakthrough?", You wonder. Because "Joanne" is a record that confuses and stuns seems almost a fiction within the fiction. Her, to reassure us, she smiles. But more than a reassuring smile, her, seems a wry grin: and if this face so pure it was just another mask, a "perfect illusion"?
TRACKLIST
01. Diamond Heart - (3:30)
02. A-YO - (3:27)
03. Joanne - (3:16)
04. John Wayne - (2:54)
05. Dancin 'In Circles - (3:27)
06. Perfect Illusion - (3:02)
07 Million Reasons - (3:25)
08. Sinner's Prayer - (3:43)
09. Come To Mama - (4:14)
10. Hey Girl - (4:15)
11. Angel Down - (3:49)

No one has ever questioned the technical qualities, singing and composition of Alicia Keys since his 2001 debut "Songs in A Minor", but the impression was always that the New York singer in every disc wanted to prove something more here is therefore the use of fashion atmospheres and Londoners beat Jamie XX in his previous "Girl on fire", the direct comparison with Beyoncé (with which she sang in "Put it in a love song" from "the Element of Freedom") or that will always be the protagonist of the sound at the time, but not really get into it at all.

This time before the release of "Here" (her sixth album which is out today on all formats) has prepared the ground with a marketing strategy and "Life Design" very effective, starting from a photo shoot of Paola Kudaci (from which comes also the cover of the disc) where the Keys pose without makeup. The service has done so uproar not only the Keys decided to keep this look also for the tv show "The Voice US" where is the judge, but with the hashtag #nomakeup realizes a real awareness campaign to help develop self-acceptance and appreciation of the natural beauty in women worldwide, and they are being attended by Beyonce, Adele and other women showbiz posting on Instagram selfies au naturel.

Simplicity, return to the roots, awareness, empowerment of women are themes - very popular today among the black singer, indeed - which are also found in 12 songs (plus the usual 4 spoken interlude, these constant) collected inside the standard version of "Here".

Since martial "The Gospel" which opens the record it soon becomes clear what will be the hard line: few instruments - piano, hammond, classical guitar, bass and drums - and then choirs and a style of vocals and rap that can not not recall the cornerstone of contemporary black music that was "the Miseducation of Lauryn Hill" ( "Kill your Mama"). The disc is made with a few musicians, almost family - with her husband Swizz Beatz producing - without special hosted or featuring high-sounding. There are some 'all matrices of traditional black music, from spirituals revisited "Pawn it all" up to the blues of "Illusion of Bliss", the caribbean pop of "Girl Can not Be Her Self" (where you deal with the again the theme of no make up) to the classic piece à la Alicia Keys "More than we now".

Unlike recent discs r'n'b (from Knowles sisters Frank Ocean up to D'angelo) where the game is to strip the flesh and dissect the individual pieces with electronic entries and glitch, here we find ourselves in front of songs- songs, from classical structure with a basic arrangement but with instrumental goodies (vibraphone in "She Do not Really Care / 1 Luv").

Between tracks worth mentioning is the beautiful single "blended family" (with the single disc featuring signed A $ AP Rocky) based on the sample of "What I am" Edie Brickell, and that tells the healing power of extended families and co-parenting and the new single "holy war", a song condemning the idea that "war is holy and sex is obscene" and could become a new classic.

Playing on simplicity and depth, without much to go after fads, Alicia Keys has released his best album, a collection of potential singles that will accompany us for the coming winter.

That of Yellowcard was a prolific career, which in recent decades has led them to the realization, before their latest album, nine albums. Reached the fame thanks to "Oceans avenue", in the following years have trod the most famous stages of the world and have become an icon of the pop-rock world scene.
Unfortunately, we know that all things, even those beautiful, come to an end.
A few days after confirming the release date of the new material, June 24 it is communicated the band broke through the official Facebook page and, in the same day, it is revealed the title of their new single, "Rest in peace".
This time the group has decided to be supported by Hopeless Records to create an eponymous and the choice is more than apt: given the premises is not difficult to imagine the kind of emotional charge, and expectation, that this record brings and how has a special meaning both for them and for the fans.

"Goodbyes are always difficult, but it is time for Yellowcard of coming to an end. We will be forever grateful to our fans around the world. Please join us for our final lap ... ", these are the words that introduce the" Video Rest in Peace ".
This was followed by photos of the band during the performance and with the fans, to the tune of a text that explains how, despite it's time to turn the page, their separation is taking place in total serenity.
It appears as obvious as the first single was not chosen at random: it seems to have been written with the intent to thank fans for years together musically giving the opportunity to each member of the group to stand out, without exceeding.
Despite the obvious sadness, this is a piece that does not indulge in slow and heartbreaking melodies; it's as if the band was trying to lift the spirits by transmitting energy and charge to those who have always followed them thus nurturing positivity and strength.

No shortage freighted songs of the style that brought the group to success: the power of "Savior's robes" and "Got yours" once again confirm their pop punk connotation, as well as "What Appears" guitar and drums.
The second single, "The Hurt Is Gone", is certainly one with which they have dared more: this fact opens with the instrumental intro of about a minute, but what is surprising is that even the final part of the track has no text .
Yellowcard always liked to experiment and, in this case, they did it by deciding not to accompany the closing of the song with the words which would enable listeners to enjoy two and half minutes of music alone; certainly there was no better time than now to take risks and they seem to be been aware.
Again the centrality of the theme of farewell is indisputable, as in "A place we afire September", but the peak is reached with the last piece "Fields & Fances" .A seven-minute song that starts as a "simple" ballad and evolves into a crescendo of violins and acoustic guitar and then explode in the power of the electric guitar; a song about love, loss, that smells of home and so much yearning as excite anyone.

This record is certainly their most intimate publication since "Oceans avenue", but on the whole is not mushy; for the band was important to thank those who supported them during their career, but also out of the picture making music as they always made, not bow to external pressures and without selling out; We succeeded proposing traces defined by very different styles, but well mixed with each other, and not at all trivial.

The journey of Yellowcard is over, but could not have ended better.

Words into music. Arrows crossing the soul and leave indelible marks. Memories, emotions, sensations. Tears that occur at the corners of the eyes when echoing the first notes of those songs that remain indelibly in the hearts and minds. Simply eternity is what we require members ramshackle one of the biggest rock bands of all time in Oasis: Supersonic, showing the will to persist into the well with their music and remain firmly attached to the center of the story.
They came out of nowhere and they wanted everything from the rise of the ashes of their career, Oasis: Supersonic contains the three-year journey of Oasis to arrive at the peak of a desire always craved, and the travails of the British group rhythms that marked the decade of the nineties.

Never take the people involved, but letting ourselves be guided by the voices of those who have contributed to the creation of one of the most entrancing musical phenomena of the entire world of entertainment, the documentary directed by Mat Whitecross (The Road to Guatamano, Scott Walker: 30 Century Man Spike Island) makes use of a vast archive of images and archive video as a collage combine and overlap to create the picture of the birth and success of the band formed by Liam and Noel Gallagher, Bonehead, Guigsy and Tony McCarroll, the spontaneous conviction of young boys to be able to get on top of everything.
Forthright, honest, Oasis: Supersonic Oasis show themselves for what they are
oasis supersonic
The band Oasis to complete

The Oasis of the indie rock group shows as well as it has done during his revolutionary existence in a documentary about the origins of a nucleus that touched the peaks of the worldwide phenomenon: forthright, honest, direct as directed is the sound of their sound, without rhetoric or refined structure. The components relive the years that led up to the triumphant concert of 1996 at Knebworth Park, where it was consumed the true spirit of the glorious union.

Reliving the experiences of those who, for better or for worse, has helped fuel the explosive fire of the British Oasis, are the testimonies of Liam and Noel Gallagher unequivocally the most substantial; two brothers, two crazy that the strenuous of Cain and Abel, were able to turn the resentment and jealousy of two genes in continuous and silent competition in a compound of memorable music, managing to meet their continuing problems thanks to a recognized and timeless, and curious affection.


Without a shadow of modesty and recognizing even after many years the powerful value that brought the music scene, is the pure passion that guided Liam, Noel and the rest of the group towards a road for them always was marked, the solid certainty since from the beginnings of one day becoming the best rock band on the planet and recognize that from an early, unknown performances.

Through the registration of first two extraordinary albums Definitely Maybe (1994) - from which came the debut song that gives title to the documentary - and plurivenduto and rewarded (What's the Story?) Morning Glory (1995), Oasis: Supersonic you does flag arrogance of two characters together in conflict and yet united by the idea of ​​making it, convinced that the important thing was not what would be in their careers, but only the impact and the effect that would have produced the their audience on the large songs.

A path made of alcohol, drugs, violent disruptions and cockiness that Liam, Noel & Com. Do not regret, moved in the past by a restlessness that forged the character and albums of the most influential Brit rock group in history and filled with meaning those stadiums filled with people, who sang the senseless words of a text written at three in the morning a lightning.

Listening again to the pieces that have realized the identity of the Oasis, poetics Wonderwall, all'incontenibile Do not Look Back In Anger until inspiration Champagne Supernova, Oasis: Supersonic tells antagonism that was driving and destruction of irreverent band , another document attesting to posterity that the Gallagher items were able to pass the test of time with greatness.

Not that this EP will follow to disk in force, having the Strokes complied with their contractual obligations with RCA with "Comedown machine" of 2013. In fact, it is said that Julian Casablancas and company are willing to make another record , busy as they are in their own solo projects. But consider this "Future present past" as an encouraging signal given from a listless team always pretty, even as listless as to border - sometimes - the antipathy: except for the remix edited by drummer Fabrizio Moretti (pleasant but all but essential ) the three unpublished included in the new EP of former indie darlings photographing a group all in all in good shape, able to capitalize on the experience gained in almost twenty years to highlight your own strengths and well camouflage the own shortcomings.

Post punk revivalist "Drag Queen", at the beginning, is deceptive: the verse of "Oblivius", screwed on a complex weaving guitar, turns into a chorus where the impact of Casablancas's voice is supported by a wall of synths and guitars. "Threat of Joy" will appeal to longtime fans, the ones who in their playlist still do not miss "Last nite" or "Someday", with guitars running the show on a beat just more complex than those produced by Moretti to "Is this it time?". While many wonder if the Strokes are back or not, the most cautious fans keep their fingers crossed: more than the story now lisa sull'hype early career and stepmother Mother press that first door on your hand and then ditching in After a couple of seasons, to the loss of enamel Casablancas and company has been some resistance to spontaneity - even sacrosanct, in some ways, because the daughter of the desire to free themselves from an image and a role that now went tight unbearably . So let us hope that in the coming months to our not occur between the soundtracks feet, DJs, installations, collections fall winter or impromptu collaborations and who knows: no performance anxiety and eyes on him the whole world, the Strokes may still give us some surprise.
TRACKLIST
drag queen
OBLIVIUS
Threat of Joy
OBLIVIUS (Moretti Remix)

It is not Lone Wolf or The early bird catches the worm. On-Air Success Story is a movie, but at the same time a game. It is a story, but also a stream of consciousness. It is a work for use and consumption of the fan and at the same time the best way to learn about the phenomenon that is Marco Mazzoli. Phenomenon because one who makes those plays is. Phenomenon because the landlord of the 105 Zoo is one to study because no one like him: if it is true that Stern is the beautiful radio boss, dirty and bad, Mazzoli it is the Italian, who has made a cialtrocazzonismo 'art, of total freedom a totem, the craziness, the surreal, the chaotic but organized madness, a winning mix. Phenomenon, finally, because "the DJs who do not like" can give it to drink at all with that smile and jokes that would have you believe that yes, he is one of the road suddenly and said a big ass. One that goes from Noise, trade winds and Wender in Maccio Capatonda, Herbert Ballerina and Ivo Greedy, and stays there at the top (in fact, is even better) and then the other if takes them as well, it is not any one. Has such a natural, innate, unique. But also an ability to develop, write, think, change, control, manipulate (the public, the radio storytelling - just think of the jokes and the Situationist closures of the Zoo, the lists of enemies ever drafted, the time machine), outside the ordinary. Mazzoli, for this writer, is a genius. One of those in the audience for two-thirds has admirers who consider it one of the family and one third detractors who listen to him with a disarming consistency "to see where it will come." And he cares: the vestal virgins who would like more mazzoliano Mazzoli, the hater who expect to shoot against the excesses (and perhaps force him to pause for a month or two).
On air-success story is not a biography. Are the first 40 odd years of a guy who has done it, who has the head too American - Blessed was Walt Disney who gave the dad and the family the opportunity to broaden our horizons - to be hindering from the misery of ' eternal Italian province, and that has set limits. With the radio, with life, with women, with the leaders, with friends. And with the cinema, because few in his place would have put his face, to play themselves, as deus ex machina.
About, it must be said, of David Simon Mazzoli. Who wrote with him Radiography of a DJ who does not like it, do not listen to the Zoo (writer yes, even during class university too many years ago), who decided immediately not to hide behind an apologetic biographical documentary or classic biopic. Animation, funny scenes, deconstruction of the script and the language of cinema, suspension of credulity, it allows more or less all of this young filmmaker who, like his cousin, does not like limits. The work has a naive trend but at the same time able to hold together the various souls, painting a portrait fragile, sweet, histrionic, fickle of a man who has never allowed anyone to stop him. Bravo Giulio Greek to interpret the Marco ride to success, as well as Dario Eros Tacconelli to play the ghost writer a little 'penniless and a little' snob who has to carry through the biography. He lived and fictionalized reality come together, telling sincerely those who have always had a dream, carried it out, and now he lives great. forgets nothing Mazzoli, but more than the betrayal of the past looks to future challenges. And the director sowing fun, entertainment, but also dramatic moments: the scene of Judas (indeed of St. Peter, or almost: "three of them will betray me"), the second before the first featuring the new team, a lunch with elderly mother (a Chiara Francini that carves out a sweet role and means certain, with the comic brilliance put aside in favor of a few well-placed melancholy) brushstrokes that says a lot of the DJs fragility, without having to explain. The cast of big names - Marzocca, Tognazzi, Giannini - is played well, to embody the inevitable stereotypes (the mentor, the boastful publisher, the bastard manager and bigoted) a bit 'gigioneggiando and a little' putting the craft. And so, like the Zoo, you find yourself in front of a striking work, never classical, deliberately discontinuous, folk and choral, with Mazzoli showman, but able to give way to his many cronies.
It comes almost as bad to wish him good Marco. Because his is a fairy tale, in this country that now has a few of wonders. Because he has done it. Because if people like me still chasing a dream (to make radio like him, and maybe with him, among others), they owe it to people like him. To whom does not give up. Who falls, to rise. And win. And maybe because everything is going great, it rushes. To remember what it tastes like dust. Who never says yes when it suits them, but only when he goes.

Eleventh album. Of water has passed under the bridge since that "Screamadelica" who devoted 25 years ago Primal Scream Bobby Gillespie to commercial success, with a bewitching blend of dance, rock, house, dub, neo-psychedelia. Practically a revelation for many, looking for exciting news. But in addition to water are also passed several incarnations of the band's sound, which in the meantime has explored and expanded its horizons, changing direction several times - now with remarkable results, now less restrictive.

This new "Chaosmosis" represents another step in this path of research chameleon, creating an album that in some ways can call the attitude of "Screamadelica" for the brightness, the sound approach lightness and contemporary pop. But Gillespie & Company have tried as much as possible to avoid the citation of the proven, assembling - in fact - this album with an eye to what is happening around them, and not surprisingly they called to their court, as guests and collaborators , even Haim and Sky Ferreira - two realities that, like it or not, represent a cross section of what is pop "new school" of the twenty-first century.

"Chaosmosis" at first listen it sounds like a light cocktail, of those who slurp with pleasure to start an evening set to grow: catchy melodies, atmospheres never oppressive or anxiety-provoking, the nail polish and a patinatissima moods, rock / psychedelic suggestions reduced to minimum, almost impalpable. All this, however, made and shaped with the typical class that Gillespie has demonstrated how innate gift - and that allows him to roam like a chameleon in many different musical worlds (from protopunk stoogesiano of the beginnings, through the dance rock, neo-psychedelia, pop, southern rock, Madchester sound ...). And the first two thirds of the album are a great poster that celebrates this special ability, suggesting a never banal version, or plastic / homogenized to use of the market, what the definition of pop can evoke in 2016.

The problem is that it is the end of the brief and tense "When the blackout meets the fallout" something seems to crack. A trick far too sugary and easygoing as "Carnival of Fools" casts a shadow on what is heard good up to that point and precipitates the band in limbo electropop from fast food, stuff that they will Primal Scream, nor have they We wanted to be (we hope). "Golden rope" instead it is a good bit more rock, stonesiano aftertaste or the "Give ut but do not give up", but in the economy of the disc does not particularly make sense. Not to mention the closure of "Autumn in Paradise", pimp, condescending and very Nineties, perhaps even potentially a commercial success, but little relation to the spirit of the record.
TRACKLIST
Trippin 'On Your Love
(Feeling like a) demon again
I can change
100% or nothing
private wars
Where the light gets in
When the blackout meets the fallout
Carnival of Fools
Golden rope
Autumn in paradise