A song by King Crimson

Le Canzoni is the daily newsletter they receive the subscribers of the Post, written and packaged by Luca Sofri (director of the Post): and who 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 singer-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, famous also for its tail on the concept of the dark side of the moon. Now Eclipse is getting new notoriety because a new version was used for the trailer of the remake 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 boringly cloying and cheap (teased as well from 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 one article of 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 hearing it fleetingly somewhere.

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