eMusic Review 0
Had this come out on almost any label — or, had these young lions been based in Brooklyn rather than D.C. — this would likely stand as an early 21st-century punk landmark. No Wave-y polyrhythms, art-funk bass, free-jazz noise urges, shifty keyboards, roaring guitars, vaguely queer lyrical subtext, lots of instrument trading — the profile in The Fader practically writes itself. But it was on Dischord instead of DFA, and Black Eyes became a footnote. The follow-up, Coughs, was both more experimental and released posthumously, as seems to be the case with a lot of Dischord bands.