72-HOUR POST FIGHT is an Italian collaborative project born from the encounter between guitarist Carlo Luciano Porrini (aka FIGHT PAUSA, also member of Leute) and electronic producer Luca Bolognesi (publishing under the pseudonym Palazzi d’Oriente), who were later joined by saxophonist Adalberto Valsecchi and drummer Andrea Dissimile.
The debut album, out via La Tempesta International, reveals the attempt at dealing with an auditory delirium, cutting it into the shape and conventional length of tracks, without trivializing nor misrepresenting its nature.
Starting from (but not restrained by) downtempo and ambient undertones, the music encompasses hip-hop percussion and free-jazz triggers for a 30-minute time, blurring the border between improvised playing and sober narrative.
The second act is a club-oriented version of the self-titled first release, where each track is remixed by international and local highlights among the experimental scene.
It opens with Cooly G‘s intro, in which guitar strings and vocalizing are echoed and repeated to assemble a remote melody; followed by Riva‘s remix of ‘LOST MY’, a bouncy beat with a house bass drum in 4/4.
The central part is strengthened with further percussion and gloomy dissonances: Lamusa II turns ‘SUNDAY’ into a ticking clock telling us that the time is running, through a crescendo that intensifies the paranoia.
On Weightausend‘s turn, indeed, syncopated and frenetic rhythms made out of metallic crashes spread like an epileptic seizure, although they’re nearly suffocated by the juxtaposition of textural sounds dilated over time.
Ben Vince, in his Sensitive Refix of ‘DEATH’, adds out-of-tune inflections to the saxophone and distorted or pitched whistles, in order to create a continuous stream that is simultaneously disturbing and hypnotizing.
This feverishness catches a breath for a while, on the notes of wuf‘s chillhop interpretation of ‘TALK’: a lo-fi nostalgic lullaby punctuated by piano chords.
Afterward, we can hear Yakamoto Kotzuga giving his best on ‘HANG’.
All of a sudden the saxophone is imprisoned by a rapid hammering, through which it emerges resembling a scream.
This track serves as a catharsis until the outro by Ayce Bio and Prev closes the album, restoring both the atmosphere and the hip-hop influences.
Despite the very different touches given accordingly with every artist’s point of view, taken as a whole, the work traces its original form letting it breathe.
Don’t get me wrong – the shift between genres and styles is still evident, but the way they are arranged does not provide an annoying detachment.
In fact, while covering a wide range of states of mind, from mellow and melancholic melodies to the harsher and dancey ones, the recurrence of the typical ambient backgrounds manages to keep it together rewarding the passive listening.