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Washington-based
Black Eyes, who debuted with the single Shut Up I Never,
concocted an energetic brand of post-hardcore on their album
Black Eyes (Dischord, 2003).
The percussive factor (two drummers, two bassists, one guitarist) evokes the
Girls Vs Boys, but the chaotic structures,
the funk undercurrents and the jazz shadowing hark back to the
Pop Group and the
Contortions.
Someone Has His Fingers Broken, Pack Of Wolves and
Deformative release primal fury and collective traumas.
Cough Cough (Dischord, 2004), which adds a saxophone, extends their
research program in the fusion of free-jazz and punk-rock, a progression
similar to the one incurred 20 years earlier by the
Pop Group. The most daring pieces
(Cough Cough, Another Country, False Positive,
Fathers of Daughters) are open-ended, but nonetheless forceful,
abstract but also very bodily.
The loser is rhythm, which becomes a mere notion, not really an actuality.
The music floats, coalesces and explodes, but has no rhythm, timeless,
implacable, amoebic.
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(Translation by/ Tradotto da Luca Battistini)
I washingtoniani Black Eyes, che hanno debuttato con il singolo <i>Shut Up I Never</i>,
hanno elaborato un post-hardcore energico nel loro album
<b>Black Eyes</b> (Dischord, 2003).
Le percussioni (due batteristi, due bassisti, un chitarrista) evocano i
<A HREF=../vol5/girlsvsb.html>Girls Vs Boys</A>, ma le strutture caotiche,
il sottofondo funk e le venature jazz rimandano ai
<A HREF=../vol4/popgroup.html>Pop Group</A> e ai
<A HREF=../vol4/chance.html>Contortions</A>.
<i>Someone Has His Fingers Broken</i>, <i>Pack Of Wolves</i> e
<i>Deformative</i> liberano una furia primordiale.
<A NAME=cou></A>
<P>
<b>Cough Cough</b> (Dischord, 2004), che aggiunge un sassofono, amplia la loro ricerca
alla fusione di free-jazz e punk-rock, una progressione simile a quella affrontata 20 anni
prima dai
<A HREF=../vol4/popgroup.html>Pop Group</A>. I pezzi piu' audaci
(<i>Cough Cough</i>, <i>Another Country</i>, <i>False Positive</i>,
<i>Fathers of Daughters</i>) hanno un finale aperto, ma sono potente: sono astratti, ma
anche molto corporei.
Ne esce sconfitto il ritmo, che diviene un mero concetto, non una realta' effettiva; la musica
galleggia, si aggrega ed esplode, ma senza un ritmo, senza tempo, implacabile, ameboide.
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