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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.
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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).
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(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 possibilit… 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.
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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.
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(Translation by/ Tradotto da xxx) Se sei interessato a tradurre questo testo, contattami
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