Interactive Poll: 2022 Favourites, so far!

Mila wrote: Nick's choices Cola de Zorro. It's the first time I’ve had the opportunity to listen to a Latin American band, from the field of progressive rock and related genres, at least consciously. So, I listened a bit more closely to this piece. Musically we are on rockier territories here. Their style sounds relatively classical, I couldn’t detect any Latin American sounds, but their music is quite rhythmical and melodious, which could perhaps be explained by the band's cultural background. The album title ‘El Desierto Avanza’ which translates to ‘The Desert Moves On’ might provide more information in this regard. Anyway, I like what I hear, and this band is therefore a contender for my higher points. Mario Lino Stancati’s world of sound, on the other hand is in complete contrast to this. He creates an epic, dark and mysterious soundscape of minimalistic electronic music, which I can imagine as a soundtrack for a David Lynch type of movie. I’m not a fan of scary movies but I’m quite into avant-garde and experimental music and this one is top notch imo.

Cola de Zorro’s album translates more appropriately as “The Desert Advances”, or to keep with your “moves on”, perhaps “moves onwards”. Only a slight difference, I realise, but with particular meaning. The band has stated that the album is a direct response to the drought and water crisis in Chile, and that the desert is, indeed, advancing - and claiming more and more of the country, and encroaching settled areas.

There is not so much Latin influence on this album as previous ones, and though the band hasn’t said as much, I wonder if it is because they have attempted to make an album that is more “international” because the water crisis and drought in Chile is not an isolated problem. Climate change has meant that throughout the world, we are experiencing vast changes in our landscape.

Here is my review, which is largely my own inferences, rather than anything the band has said. For me, the album was like a soundtrack to Steinbeck’s “Grapes of Wrath”.

https://theprogressiveaspect.net/blog/2022/08/17/cola-de-zorro-el-desierto-avanza/

Regarding Mario Lino Stancati, I had never heard of him before listening to a compilation based on the works of HP Lovecraft. I don’t really watch horror films, and never have. For me, horror is all in the imagination, and what I can imagine is more horrifying than anything I might see on the screen. I used to devour horror novels and short stories from about the age of 10 to when I was around 20, and I love to listen to dark ambient and/or avant “horror music”. I loved the idea that Eighth Tower Records was releasing a book of short stories, accompanied by a soundtrack. I have three of their book/cd combos now (and have reviewed two for TPA).

https://theprogressiveaspect.net/blog/2021/12/11/various-artists-va-the-black-stone-music-for-lovecraftian-summonings/

https://theprogressiveaspect.net/blog/2021/12/11/various-artists-va-the-beyond-music-inspired-by-the-lucio-fulci-death-trilogy/

Because Mario Lino Stancati impressed me so much on the Fulci compilation, I ended up buying the first Portraits compilation (and had to review that, too, because it was too impressive not to).

https://theprogressiveaspect.net/blog/2022/01/27/gasparotti-ciullini-stancati-portraits/

Lorenzo’s picks

I listened to them all, or at least all I was able to see. I have to admit that almost every one of Lorenzo’s initial four were more impressive than the new four. The lone exception was The Boss, whom I’ve never really had much of an affection for. I do like the odd tune of his, so thought maybe this might be one to join that small number, but it was not to be. He’s a great songwriter, and perhaps it’s his delivery that doesn’t quite gel with me, as I can’t recall a single cover version of one of his songs that I don’t like.

I would normally comment more, but I’m not really feeling it. This is through no fault of Lorenzo’s, but rather the bad news that seems to keep rolling in to my life. If Kees hadn’t made the above post, I might not even have managed to post this. My head and my heart just aren’t really into it.

(Leading pack)

Vinicio Capossela, Bestiario d'amore

Francesco Guccini. Natale a Pavana

Paolo Conte, El Greco

(Chasing Pack)

Achille Lauro, Domenica (five points)

Irama, Ovunque sarai (three points)

Elisa, O Forse sei tu (two points)

Lo Stato Sociale, Combat pop

(Out of contention)

Bruce Springsteen, Song tò Orphans

Mahmoud & Blanco, Brividi (one point)

Only one track falls below The Boss in my affections, and it’s poor Mahmoud & Bianco - which was actually interesting instrumentally, but vocally put me right off. It has that auto tune sound that I have never enjoyed. Ugh! 🥴🤢🤮

[EDIT] to add:

Christian’s picks

There’s very little between the top three of these, and I could probably order them differently on a different day. The only clear ranking is Laura Veirs, who just didn’t grab me the way the others did.

Of the two more industrial tracks, I think I do prefer So Sner over Lucy, so it’s really only where to place the weird and wonderful Red Snapper.

So I guess I’ll go for:

So Sner, Animals Will Help (five points)

Red Snapper, Tarzan (three points)

Lucy, Wanton Witch 2 (two points)

Laura Veirs, Seaside Haiku (one point)