A song by King Crimson


Le Canzoni is the daily newsletter that the subscribers of the Post receive, written and packaged by Luca Sofri (who is also the director of the Post): and which speaks, unpredictably, of songs. One for each evening.
There is another song from the Future Islands record that comes out in October: they are that band from the songwriter who got noticed by moving like a ferret, but not only for that.
Dark side of the moon, perhaps the record most famous in the history of rock, there is not much to say about it: the most beautiful of the most famous, I would add. His most beautiful song, for me, is not one of the best known and most used (Money, Us and them, Speak To Me/Breathe), instead: it is the last, Eclipse, also famous for its tail on the concept of the dark side of the moon. Now Eclipse is gaining new notoriety because a new version was used for the remake trailer of Dune (a film that, despite the promotion, did not leave great enthusiasm among us).
The story of Enya and his popularity is fascinating: at the end of the eighties he had a crazy worldwide success, with one record in particular, but then what seemed to be his refined originality – with the competition of a million commercials that used his songs – passed to be perceived as a boringly cloying and cheap thing (also teased by South Park), in the category of new age gooey. Meanwhile, she withdrew into her own business, serenely enjoying the royalties and evading any publicity. Now a long article by Pitchfork celebrates it as an important influence of much new contemporary music, re-evaluated by many young listeners. I don’t know if he convinced me, but I must admit that a few days ago I spent the day humming Watermark, after having listened to it fleetingly somewhere.

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