Bleeding Eyes: What a beautiful day, what a pedantic cold…..

Bleeding Eyes - Golgata

The band Bleeding Eyes states, «Fall, fall damn rain! Clean me off of all of this. What a beautiful day in pouring rain!». The track Confesso,

Confesso is from the sixth studio album and here are the lyric in Italian!

Aspettavo senza motivazione alcuna, che bella giornata, che freddo saccente. Quando lei sorride, le nasce accanto gli occhi una velata ruga che è impossibile resistere sono così Verdi, del mare più profondi se ancora li guardo, son sicuro che sarà un tonfo così fondo… Impossibile, impossibile rialzarsi! Neppure il sincero pentimento (una stella) all’alba del nuovo giorno (la più lucente) con mio grande scoramento (la più gelida) non ci sarà alcun ritorno. Sono io il vero cieco, sono io quello sordo. La tua virtù premiata, la mia virtù perduta. Strappare quel cuore nero, dal petto mio bugiardo, tutti i l’immani segreti ch’entro di me abitano Il passato torna a tormentarmi nel mio momento peggiore. Persone con buone maniere, ma cattive intenzioni. Così inutile, così fragile. Insoluta dissolutezza. Ci sono dei vuoti dentro che quando riemergono riempiono tutto. Straripano facendosi fango che inghiotte e trascina nel profondo. Sconfitte, conflitti, disguidi, distanze non più percorribili, strade perse, dimenticate e falsi ricordi. Nessuna vittoria. Solo la notte, solo il dolore. E viene la notte e torno a morire. Stante, stento, cotanto tempo, tanto, troppo per pura pudicizia, per puerile pochezza. A volte le cose orribili hanno la loro bellezza. Del suo nome che è tutta la dolcezza. Del mio, che si dice, ascoltato da Dio. Magari fosse vero. Magari. Scura, oscura, impura, eppure… Io adoro. Io adoro.

But also in English of course…..

I waited for no reason whatsoever, what a beautiful day, what a pedantic cold. When she smiles, a veiled wrinkle arises next to her that it is impossible to resist, they are so green, deeper than the sea if I still look at them, I’m sure it will be such a deep thud … Impossible, impossible to get up! Not even sincere repentance (a star) at the dawn of the new day (the brightest) to my great discouragement (the coldest) there will be no return. I’m the real blind one, I’m the deaf one. Your rewarded virtue, my lost virtue. Tear that black heart, from my liar’s chest, all the huge secrets that inhabit me The past returns to haunt me in my worst moment. People with good manners, but bad intentions. So useless, so fragile. Unsolute debauchery. There are gaps inside that when they re-emerge they fill everything. They overflow becoming mud that swallows and drags deep inside. Defeats, conflicts, misunderstandings, distances that can no longer be traveled, lost, forgotten roads and false memories. No win. Only the night, only the pain. And the night comes and I go back to die. Being, hard, so long, long, too much for pure modesty, for childish littleness. Sometimes horrible things have their beauty. Of his name which is all the sweetness. Of mine, which is said, heard by God. Maybe it were true. Maybe. Dark, dark, impure, yet … I love it. I adore.

After Gammy (©2014 Go Down Records) the band embarked on a different stylistic and compositional path. Starting from long and substantial jams, the five-piece band extrapolated and deepened 7 tracks lasting almost 50 minutes. Bleeding Eyes are probably not the most well-known band, but the sludge outfit offer much frustration and strength with cathartic and cacophonous outburst in a very fascinating way.

On Golgotha the influences are getting darker. Black on black. The esoteric doom mixed with the typically sludgy attitude, give to their personal existential ordeal a picture in which Simone Tesser’s lyrics fit perfectly. Golgotha’s topics tell about saints and unbelievers, the latter ones in constant conflict with life and death. This new interpretation that also takes inspiration from the heretic gospels of the apocalypse (first 2 tracks), represents the steady and never ending spiritual detachment that our capitalist society has lived in for several decades.

With mocking irony and lots of sarcasm a post-dogmatic dark way is proposed by the band to deal with the ordeal of everyday life. The studio recording process lasted several months and was handled by Jason Nealy and Marco Dussin (guitarist and bassist respectively). Drums and rhythm guitars were recorded at the music club Benicio Live Gigs, located in the suggestive woods of the Montello hill in Italy. While the final steps, mixing and mastering took place at BadRum studio in Asolo, Italy.

Golgotha has a really deep and dense meaning for the band and the graphic part plays an important role too; that’s why the Bleeding Eyes has chosen the Lorenzo Ferraro’s photography. The album artwork consists in pictures taken right after the passage of the devastating storm Vaia, that heavily damaged the band’s hometown surroundings. The desolation post Vaia matches perfectly with Golgotha’s magmatic darkness. The event proved our disarming weakness in front of an untamed force of nature that can unleash destroying powers yet unknown. The album title itself is therefore -calvario- the combination of a natural imagery that reveals the misery of the precarious human condition.


Lorenzo Conte | drums, backing vocals

Marco Dussin | bass

Jason Nealy | guitars, backing vocals

Nicola Anselmi | guitars

Simone Tesser | vocals.


About Ulf Backstrøm (7425 Articles)
Mitt hovedfokus er musikk som er basert på progressiv tenking. Jeg er på ingen måte ensporet innen musikksmak, i likhet med intensjonen bak prog. Sjangerbegrepet er egentlig temmelig uinteressant annet enn til å gi en pekepinn om hva slags musikk det er snakk om i en anmeldelse. Jeg søker god musikk for å utfordre meg som lytter. God musikk til å trigge mine musikalske smaksløker, og til å sette i gang mine refleksjoner. Da er sjansen stor for at jeg utvikler meg og lærer, noe som bør være drivstoff for et hvert menneske. Fordi det å lære og utvikle seg er noe som tilfører livet en nødvendig porsjon "krydder". Slikt krydderet finner man blant annet i musikk. Ikke overraskende mener jeg at progressiv musikk har den fineste "smaken". På den annen side kan musikk med eller uten progressive elementer være godt nok til hverdags. Til fest derimot holder bare rendyrket prog! Må jo også få med at jeg rimelig kritisk, og jeg mener at det lages mye prog som er i beste fall uinteressant, og faktisk mye som er pinlig dårlig. Heldigvis oppveies dette av ekstremt dyktige aktører som for eksempel: Flower Kings, Mostly Autumn og White Willow, for å nevne noen tilfeldig valgte.
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