Gf Patetica Bold
Christal Rasband
Hace unos años era un muy buen restaurente. Hoy en dia es literalmente una puta mierda. La verdad es que la mayoria de la gente que ha ido a comer por primera vez no creo que haya vuelto. Para empezar la cocina es un desastre, se come muy mal y es muy sucio. La presencia de los camareros es patetica, ya que para estar en esta zona y tener la fama que tiene, el que no parece yonqui te saca un moco y luego te sirve el plato. Bueno asqueroso.Que pena el Can Ganassa, lo que ha sido y lo que es. Una ultima sugerencia, podrian cambiarle el nombre y ponerle: CAN GUARRASSA!!!
Time Log: Jesus Christ is crucified. Place: Jerusalem. The preparatory "Introduzione" sets the tone with typicalMiddle Eastern serenity and empirical Roman bombast , setting a time and place for the story to unfold , as theannual Jewish Passover holiday is set to begin, amid great tumult between the local populace and the invaderlegions. The glorious melody on harpsichord settles as the freshly baked matzah emerges from the oven, andthe last supper has finally arrived (Supper's Ready), the sound alternating between historic narrations, massivechoir arrangements and titillating keyboard flourishes. The melody on "Ultima Cena" is achingly poignant,revealing a glimpse of the upcoming tragedy. The bread and blood of the alliance refers to the benedictsharing of wine and sustenance, forged by a gentle acoustic guitar phrasing that elevates the soaring vocal,escorted by a gliding lead guitar that weeps and cries with splendor. Sweeping mellotron ushers in colossalchoir work that veers closer to opera, another Italian 'trouvaille' that has lived on. Celestial synths adorn thearrangement as the story unfolds. As with the original, "Getzemani" remains that thunderous melody with a masterful arrangement that elevatesthe sound to heavenly heights, generally marshaled by a sublime synth foray, this continues to be a highlightthat can only surpass the loftiest hopes. Stirringly emotional and densely spiritual, the pure sounds blur the linebetween musical genres, with that blasted harpsichord seducing the soul once again. Alfio Vitanza's drums arecrisp, bold and riveting, providing the foundation for the intense choir section, fueled by both the blissfulmellotron and the parping synthesizers. "I Falsi Testimoni" only enhances the flow, with roiling organ, narrationand huge choir interventions. The ELP-like instrumental section gets a guitar impulsion that only temporarilyhides the moog solo, straight out of Emerson's Lucky Man. "Il Pianto" is a direct lift from the former USSR anthem (same as the current Russian anthem with differentlyrics) written by Alexander Alexandrov, a drop-dead gorgeous melody that is too short for my tastes andsegues into the more somber dramatics that edge closer and closer to the intolerable finale. "Il Prezzo delSangre" slings a sizzling guitar into a maelstrom of orchestral strings as the price of blood becomes self-evident and the fate of a precocious Christ is sealed by both the occupiers and the occupied, another youngprophet brought down for daring to shake the tree. A brief nod to "Giuda"'s weakness dwells only briefly, thevoice being the main focus here, swelled by Lacagnina's slippery synth and a regal guitar solo from Dellacasa.The option of Barrabas or Jesus comes up as a collision of choirs entangled, the spectral church organ findingits place in the score with cavernous appeal ("Toccata per Organo"), all leading up to the painful Calvary wherethe Romans had prepared the cross. "Il Calvario" is a hurricane of emotions, imagine if you will dark choral clouds that loom above the Mount ofOlives, distant thunder and occasional lightning crawling the flesh, as the massed voices exult in paineddistress. Agonizing guitar bursts and distraught mellotron rule the stage, as the point of no return arrives. Thetears of blood stain the cross of Roman punishment, the future consequences impossibly divine for futurebillions of souls. The "Aria della Croce" remains strangely upbeat for those reasons. Things get tumultuous withdense orchestrations that flirt with wild dissonance a la Orff, with hard guitars and raging chorale, a reprise ofthe Il Pianto" anthem, gentle as the warm wind is meant to provide hope and perhaps even salvation. The deed is done, the moment when history has been forever altered for better or worse, the music highlightingthe importance of his being still venerated by many worshipers. The work does not come across as a religiousartifact but a rather well-crafted re-working of a classic story that no one can deny. Latte e Miele is another fineexample of the 'resurrection' of progressive rock music, a genre gaudily crucified in the late 70s as pompousand elitist by primitive music scribes who somehow seized power of the journalism world and prepared thenails that slammed through prog's arms and legs. Needless to say, the entire package is first class, artwork,booklet, production and sound. 5 revivifications social review comments Review Permalink
Posted Tuesday, February 17, 2015 Review this album Report (Review #1369947)