Bright
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Bright , 6.5/10
The Albatross Guest House , 6/10
Blue Christian , 6/10
Full Negative , 6/10
Bells Break Their Towers (2005), 5/10
Nonloc (2003), 6/10
Nonloc: Between Hemispheres (2007), 6/10
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A Boston Cul De Sac fecero presto scuola: i Bright (originariamente Heroine) sono un altro gruppo del Massachussetts, e Bright (Ba Da Bing, 1996) presenta passaggi strumentali al confine fra progressive-rock e psichedelia (Canal, Redefine, Elting 1901). L'influenza originale degli Stereolab e` moderata da uno spirito affine ai tardi Sonic Youth. Le parti cantate abbassano un po' la media di un disco che altrimenti e` una delizia del contrappunto.
The Albatross Guest House (Ba Da Bing, 1997) contains material recorded between 1993 and 1996 by guitarist Mark Dwinell and drummer Joe LaBrecque. The album shows their most visceral and passionate side, both more experimental, bordering on free-jazz, and more convoluted, bordering on the German school of Can, Faust and Neu.

Blue Christian (Darla, 1999) is the first chance the duo gets at dilating their structures. Mini-suites like Tapping and Grand Mal take advantage fully of the expanded medium and prove that Bright is even more skilled than the song-oriented pieces hinted.

Full Negative (Ba Da Bing, 2000) resorts to a more abrasive and dissonant stance. Lead-off track Heart Of The Park shows their debt to shoegazing.

After a hiatus of five years, Dwinell and LaBrecque resurrected Bright as a duo and recorded Bells Break Their Towers (strange Attractors, 2005).

(Translation by/ Tradotto da Gianluca Mantovan)

The Albatross Guest House (Ba Da Bing, 1997) contiene materiale registrato tra il 1993 e il 1996 dal chitarrista Mark Dwinell e dal batterista Joe LaBrecque. L'album mostra il loro lato piu' viscerale e appassionato, sia sperimentale, al confine con il free-jazz, sia contorto, al confine con la scuola tedesca di Faust/Can/Neu. Blue Christian (Darla, 1999) e' per il duo la prima possibilitů di dilatare le strutture. Le mini-suites come Tapping e Grand Mal profittano in pieno di quest'espansione e provano che Bright e' perfino piu' dotato di quanto diedero ad intendere i pezzi song-oriented. Su Full Negative (Ba Da Bing, 2000) l'atteggiamento e' piu' abrasivo e dissonante. Il pezzo d'apertura Heart Of The Park mostra il debito verso il shoegaze-rock.

Nonloc (Ba Da Bing, 2003) is the solo project of former Bright frontman Mark Dwinell, helped out by a handful of friends who play violin, cello, viola and percussion.

On Nonloc's Between Hemispheres (Strange Attractors, 2007) Mark Dwinell played all instruments by himself. Dwinell harks back to the minimalist avantgarde of the 1970s (Steve Reich, Terry Riley), except that he revises it for the quintessential folk and rock instrument, the guitar, adding manipulated sounds of other instruments for coloring. His brief minimalist sonatas (Corpus Callosum, The Golden Apple Pie, A Popular Tune, Clearing) try different routes to create self-sustaining patterns. But Dwinell's aim is not to compose instrumental experiments. He uses that framework of guitar repetition as the skeleton for songs with lyrics: Candide, Sentry at Eleusis, and especially Lost in the Desert, Near Death (with strings reminiscent of Michael Nyman). The last two tracks do not quite fit in the concept, as if they belonged to another album: the trance-y six-minute elegy Two Dreams, and the six-minute instrumental guitar droning crescendo of Between Hemispheres. They are also the two that truly capture one's attraction, because of both the original structure and the psychological tension.

(Translation by/ Tradotto da xxx)

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