In the previous article published entitled “The spectacularization of art; music between social and media "is promoted"the intention of proposing, on a monthly basis, starting from December, the review of records that characterized the nineties but which did not have the due and deserved honors, thus wanting, with an undisguised provocation, to stimulate greater openness and a elimination of the many preconceptions that unfortunately exist in many music lovers".
Again in the same article, as testimony of what was assumed, "Spiderland"By Slint:"Otherwise, the musical decade, symbolically inaugurated in 1991 from that absolute masterpiece and crossroads that is Spiderland by Slint, orphan of an ideological current and of any form of spectacularization, it has gone unnoticed even to the ears of those who (in fact) having loved the sixties and seventies, should not have insensitive to the many artists who have printed records of absolute value ...".
And it is, therefore, with “Spiderland” that we will begin our cycle of reviews.
- slint formally born in 1986, in Louisville, Kentucky, at the instigation of two former members of the Squirrel Bait (mother group from which in addition to Slint, For Carnation, Bastro and Gastr del Sol will be born - the latter two by David Grubbs), the guitarist Brian McMahan and the drummer Britt Walford which was joined by the bass player Ethan Buckler and the guitarist david straw.
Although (in line with the theme we dealt with) they did not pass into cavalry, the specialized critics recognized the Slints the merit of being one of the most influential bands not only of their period but, with hindsight and at a distance of thirty ' years, of the history of music
In fact, they gave shape to a new genre of music (which would influence the years to come) in an innovative restructuring of the tensions and neuroses of hardcore but unstructured and orphan of all hatred and passion, in a crasis that united Herb, acid-rock, progressive-rock, slowcore, free-jazz and avant-garde chamber music.
And so, in the 1991, the immortal "Spiderland" (Touch & Go) is released, a record that, in the opinion of the writer, can be considered for the music born after its release, what it represented for its time and for those in to come "The Velvet Underground & Nico".
“Spiderland” is a set of tales, evocative musical narratives, nocturnal, hypnotic and narcoleptic landscapes, shaken by rock openings and abrasions that fibrillate like electroshock on an enlarged body lost in its dream psychosis. A record that since its opening "breadcrumb trail”, Made up of three harmonics and a recited, marks the step towards a new musical literature.
Between the furrows and between the tracks, a special mention goes to "Washer”Which, with its register changes made of filling and emptying and with its asphyxiated resolution of tensions, rises to the rank of one of the most beautiful ballads.
Marco Sica
