#eyelessrecords

[uttersorcery]

Lee Riley "From Here We Are Nowhere".

pic: Nicola Onions

On 28th July we release drone/ ambient/ doom artist Lee Riley album "From Here We Are Nowhere". Oxford based experimental composer Lee Riley goes right back to the origins of Eyeless Records and this is a joint venture with his own imprint Iller Eye. It will be released digitally and on stream as well as a ltd lancing pack CD and contains some of the most immersive drone music this year. I caught up with Lee to ask about his process to complement the album...

Oxford 

What’s the scene like in Oxford at the moment? When I was there it was incredibly collaborative and supportive and it’s where Eyeless was born…are you part of a strong community there or are you more independent as an artist?

Lots of great music as always in Oxford, the promoters at Divine Schism are bringing exciting bands to town regularly. I have a variable taste and like lots of types of music. A few favourites and highly recommended, on the heavier side bands like Ghosts In The Photographs, The Hope Burden, Sinews are doing well with recently released material or playing regularly. The experimental side there are things happening, I feel more independent but have many friends in other bands who support other.

I don't play solo live much. But would love to play more. I have had a close connection to Oxford over the years both in music and the arts. 

It was great being involved in the early incarnation of Eyeless and working other promoters who have left Oxford. Since 2007 I have carried on both musically and visually. Studying sonic art and forming collaborative projects with other musicians, dancers and artists. I have curated sound art exhibitions and occasionally events too.

Influence 

Who informs your practice?  There’s a remarkably rich sound to your pallet feels like there’s a lot going on in there…scraping, drones, dissonance percussion vocals x

I wanted to play a bit more on these recordings, still working with layers of drones and noise. But having more textures. No vocals but the guitar can be manipulated in a way it sounds like a voice.

I wanted to mix acoustic and electric guitar on this album, I still need to try it live at some point.

I have many influences sometimes films and TV shows like Dark. I admire musicians like Stian Westerhus, Tim Hecker, Sunn O))). I have always tried to do my own thing and find new ways to enhance what I create. 

Method 

Is there a lot of layering or is it more live? To what extent does improvisation inspire your process? Or is it very tightly controlled?

The album is very succinct was it difficult to keep the tracks quite economical considering the genre you were working in?

As mentioned above I wanted to play more being able to control the sounds more instead relying heavily on delays and layers. I wanted to separate the sounds to allow space and depth to the recordings.

It feels like in your work you are exploring the possibilities of prepared guitar and extended techniques of playing guitar….

I have always treated the guitar as a sound tool and not and instrument. Such as using the body of the acoustic guitar or bowing and scraping the strings, etc. 

I have worked with Mike Bannard in the Studio for a few releases, he understands my approach and what I want to produce and he suggests different mixing/recording techniques. He works with lots of bands and has a relaxed environment at Safehouse Studio and he is always up for exploring new ways of recording. This is my 3rd release with him on board. He has really helped bring out the details of my sounds and we collaborate in a group called UNMAN.

Influence 

The final track “No one knows what’s inside “ offers a climactic ending of noise and crescendo…is tension and release a big part of your compositional method?

My approach has always had a loose improvised feel but I feel that the composition elements evolve from playing and having creative freedom helps. I know how to make certain sounds but it's how I use them. It's ike a blank canvas layers of sounds replacing the paint. They sound similar yet different each time or when put together.

This session was made into these pieces, revisiting them like sketches. Some sounds repeat on different tracks, this helped me arrange the sequence of the tracks as a whole but they also work as individual pieces of music.

As mentioned above films and TV shows often have great sound design and atmosphere. I have always tried this whilst making my music, probably sounds cheesy but taking the listener or audience on a journey.

Are there any albums you are excited by atm would you like to talk about these?

I really like the recent album by Wolf Eyes album.

I can't wait to see Big Brave again in September, there albums sound so good and have lots of depth to there sound. Stian Westerhus has some new recordings coming soon, look forward to those.

Also I highly recommend you listen to the Recent Ghosts In The Photographs album, I had the privilege of guesting on one of the tracks. Really great underated band from Oxfordshire.

Future Plans 

What’s next for you as an artist?

I hope to play solo live more both in Oxford and different places. It's been challenging for everyone making music or bands playing over the past few years, it still is. I like performing so we will see what happens. I have a new project called DHELTR∆ with Beth Shearsby and Jeremy Moors. We have played a couple of live shows and hope to record soon.

I also hope to work with UNMAN a ongoing noise group featuring myself, Mike Bannard, John Grieve and we have a new drummer John Jobbagy.  We played with Sly & The Family Drone recently which was good fun!

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This Friday Eyeless records release "ANTISTAR" the new double album from American songwriter and artist Nobody AKA Willis Earl Beal. This interview is an exclusive look into his world for Utter Sorcery:

What inspired you to release a double album?

For me, it was the only logical way to tell the story this time around. 

The 16 songs had to be separate but still in the same package; like a concept album that shows two different perspectives from the same artist. 

Nelly, the St. Louis Rapper once released a double album like that called “SWEAT/SUIT” : “Sweat” was for dancing and “Suit” was more subdued and smooth.

Your music sounds very cinematic how much does film inspire you?

Entirely. 

For years, I fantasized about being a Film Director but because I prefer to work alone, Music was a medium that was more accessible to me.

I walk around thinking of myself as the Protagonist in the film of my own life. That’s how I write songs.

Can you tell us a bit about the background of Blue Dawn and part 2 Black?

“BLUE DAWN” is a collection of songs that I wrote and recorded in Boulder, Colorado, which is predominantly Populated by Rich White People. These particular songs represent the entirety of the time I spent there. The cover is a photo I took from a bench in my favorite park where I spent more time as a homeless person in the last summer of my stay.

These songs are mystical, wistful and somewhat naive, yet also melancholic.

My girlfriend and I had a temporary separation, so the last two songs reflect a degree of palpable isolation.

“BLACK” on the other hand is a group of songs that represent my thoughts and experiences after returning to Wilkinsburg, Pennsylvania, which has a significant population of Poor Black People.

These songs are more pensive because they aim to express Alienation and disillusionment regarding what it means to be myself and also what it means to be black.

Overall, I consider “ANTISTAR” to be a follow-up to “Morningstar” because of the cyclical synchronicity of the releases: both being essentially released during BLACK HISTORY MONTH and also both being released in a time of National Crisis. 

Additionally , the titles “Morningstar” and “ANTISTAR” refer to the same celestial body which is the Planet Venus. 

Venus can be seen in the dark Morning just before Dawn and can also be seen in the evening before Night.

Another parallel is Christ and Lucifer.

What’s your recording process like? Do you work slowly or with bursts of inspiration?

I definitely work with bursts of inspiration because nearly every time I record, I do so with the intention of making an entire thematic record. I don’t tend to necessarily enjoy playing music for fun but rather I always play and record with purpose. After that, I hibernate until the next project.

Do you feel comfortable as an “outsider artist” or does that term not ring true for you? 

By now, despite the cliched nature of that term; it is one that I cannot avoid. This is yet another reason for the overall title of the set. For better or worse… I’m an “ANTISTAR”.

You were keen to release this album for black history month…what resonance does this have for you and your music?

As a free-thinking individual, I find it imperative to extend my efforts toward creating substantial works that align my vision with anything that promotes positive recognition of the pioneers that got me here, though I have not always experienced this kinship in real time. 

My relationship to the conventional concept of “Blackness” in this Country is complicated, but my aim is to express myself with sincerity no matter what. 

With this in mind , it’s important for me to highlight the paradox of being seen as only Black by certain American Whites and conversely as “not Black enough” by some American Blacks. 

I’m truly a stranger in a strange land, but this music is for other strangers like me.

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Next Friday 27th September Eyeless Records release Matt Finucane’s mini album of explosive post punk/ out rock with drummer Barney Guy. Matt (pic. Rob Trendy) picked 5 records that shaped him for Utter Sorcery…in Matts words..

With the caveat that the internet's smashed my attention span to bits, so I haven't listened to an actual album in full for several years (and the tracks I do listen to cover a diverse range of people and genres not necessarily reflected here), these are some that made a lasting impression:

1) The Velvet Underground and Nico - everything stems from this. If it weren't for the Velvets, I could have a cushy City job or be an estate agent or something, secure in white cishet male privilege - instead I'm a crazed, unemployable malcontent on a path of magic and perpetual creative dissatisfaction. Blame them, and the spell they cast on an impressionable 15 year-old. Best album ever? Maybe.

2) The Fall - Sub-Lingual Tablet - could have chosen anything by this band (they're almost as culpable as the Velvets). I love all their eras, but this is an overlooked late gem that really reminded me of the beauty in horrible noise and grotesque vocals. The production's totally bent, very harsh and electronic, and just wonderful.

3) Can - Monster Movie - Malcolm Mooney beats Damo Suzuki as a vocalist, and if anyone says otherwise I'll turn them into a toad. Krautrock supreme!

4) Fine Young Cannibals - The Raw and The Cooked - first album I ever bought. Very, very fine. Motown meets indie, tight as anything, ten thousand volts of charisma. Lovely.

5) Aaron, Chris and Julian Liberator - The Sound of London's Acid Techno Underground. Can't stop listening to this, proper old skool faceless techno hypnosis, really got me back into the virtue of mindless repetition.

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Peace For Old Ghosts has just released a bewitching and gorgeous new mini album “Golden Decay” on Eyeless. Utter Sorcery asked about 5 records he loves right now and might have inspired him too.

Photo: Bertie Patel

1. Sylvie - Sylvie

Beautiful, warm and emotional. Sounds like a warm duvet on a Sunday morning. Immediately familiar, this slotted into my life instantly. Amazing live band too, such love for what they do onstage.

2. Careful of Your Keepers - This Is The Kit

A great record whose warm directness hides a hidden world of complex rhythms. Like a friend whispering helpful poetry into your ear.

3. The Natural World - Land Lines

This record is almost a decade old but a friend gave it to me and it's so good. Plucked cellos, krautrock grooves, and warm synths. Minimal and intelligent.

4. I Will Not Be Sad In This World - Djivan Gasparyan

Hauntingly beautiful solo flute music from Armenia. Despite the title, it's really fucking sad, and even more beautiful because of it

5. Emerald Tablet / Echoes - Somei Satoh

Longform Japanese drone that barely lifts it's voice above a whisper. "Echoes" was written for an exhibition where speakers were placed 1km apart on a mountain, surrounding you with the sound. It must have been incredible! This is deep listening that requires a bit of stamina, but it's very rewarding.

[uttersorcery]

In advance of the eagerly awaited new album by Birdengine “SOMNAM” on Friday here are his 5 best albums specially for Utter Sorcery:

Lawry (Birdengine)

Here are five albums.

Leonard Cohen - Songs of Leonard Cohen (1967) Both my parents were big into Leonard and one of my earliest memories is listening to this (his debut) album with my Dad and looking at Leonard Cohen’s face on the cover. What a lyricist, what a voice and such original songwriting that takes the listener from light to dark so effortlessly. A good example of how expressive and rich a nylon-strung guitar can be and definitely a major influence that inspired me to pick up the classical guitar. His songs are completely timeless and he also seemed like such a warm and personable artist. I wish I'd seen him live. RIP Leonard.

Oneohtrix Point Never - Age Of (2018) Bendy saturated Midi Baroque harpsichord? Yes. Please. Oneohtrix Point Never aka Daniel Lopatin is an experimental electronic musician and producer I've been into for a while now. He's released a lot of albums, mostly sort of Eno/Budd-esque ambient instrumentals using synthetic sounds, but each one marks a distinct shift in style. 'Age Of' is no exception and the experimentation just keeps you wondering what’s happening next. He manages to avert categorisation like a few really great artists. Such an original producer and though I love the organic warmth of some electronic artists, OPN manages to embrace that cold, free VST, cheap-sounding, sterile inner world of computer production so uniquely. A lot of unorthodox sound design, samples and some really abrasive nasty-sounding synths. I could have happily chosen any OPN album prior to this (‘Replica’, ‘R Plus Seven’, ‘Garden of Delete’) but 'Age Of' is probably my favourite.

Portishead - Third (2008) This album is the business. I never really listened to the first two Portishead albums, I was never into trip-hop, I was just too busy listening to 'Modern Life is Rubbish' but holy cow, Portishead's third album is one beast of a ‘krautrock drumming, big warm synthy horror show’ album. The lyrics on this album are nicely ambiguous and Beth Gibbons sounds suitably harrowed. Lots of restrained guitar, as well as fat, analogue synth and minimal parts played all round. It reminds me of ‘Kid A’ as an album close to perfection for me. Again another band that drastically changed their sound, I do hope they make another one. I almost chose a Beak> album, which is Geoff Barrow, the member of Portishead who really drove this album's sound. They're also brilliant.

Nathan Fake - Blizzards (2020) Nathan Fake is an electronic producer who makes beautiful, warped, synthy, nostalgic techno. He has a real knack for melancholic, uplifting melodies and his production adds fuzzy layers of grit, hiss and saturation. His drum programming is also really impressive and totally unique. I listen to EDM when I run and I could easily have chosen James Holden, Luke Abbott, Rival Consoles or John Hopkins. There’s so much focus on production with these artists with real attention to detail. Fake sounds like he records his music on chewed-up tape. Blizzards came out last year and he doesn’t really mess around with this one, it’s driven by rhythms and beats over melody and so great to run to.

Frank Black - Teenager Of The Year (1994) What can I say about Frank Black? This album (his second solo album) comes after an outstanding body of work with Pixies and is perhaps a strange choice. This album is one of those albums that no-one else I know likes, at all. It's a long album, a double album I think. It’s very inventive and all over the place with a lot of different styles from heavy punk to extremely uncool/cool nineties synth accompaniment. I think I read that he used Midi sequencing for the first time on this album. I can’t remember why, but there was a period of time when I only listened to this album, maybe it was stuck in a CD player or something I don’t remember. When you listen to an album on repeat like that, even if you don’t like it, it seems to become part of your genetic makeup. But it really does have some great tracks on it, loads of different ideas and melodies constantly a bit like Sparks. It’s similar in style to the last two Pixies albums and Joey Santiago plays on a couple of tracks here too. Good stuff.

[uttersorcery]

Maz Clarke “Here”, the debut album coming to Eyeless Records very soon features raw and candid songwriting with a real poetic sensibility and beautiful guitars including the title track co-written with David K Frampton. We at Utter Sorcery asked her about her favourite records:

CD picnic, Maz Clarke

Out of a rather randomly compiled cd picnic – cds I have been given, saved from old itunes accounts by burning, or old favourites I once bought before spotify – which I keep on the floor of my little car, where I like to listen to whole albums and sing along, there are 5 I currently replay most frequently:

The Velvet Underground – Loaded

I love all of The Velvet Underground, it makes me feel giddy and transported, but Loaded I listen to most because it’s lovely and sunny with lots of oohs and ahhs, and it’s fun to listen to whether it’s Lou Reed or John Cale singing.

Gillian Welch – Time (The Revelator)

I could equally have chosen Soul Journey, these albums are very close to my heart and I sing along at the top of my voice when alone and feel a dark kind of joy and amazement at the beauty of the music. The harmonies are also fascinating and I’m still trying to hear how to sing them.

Talking Heads – Remain in Light

I love everything about Talking Heads, from childhood when I knew all the words to True Stories from long car journeys trapped with 5 albums our family could agree on listening to together (still good ones), and recently I have loved David Byrne’s American Utopia show. Remain in Light is the cd I own and every time I listen to it I pick up something different, and it’s got a driving force. I make up some of the words for myself…

PJ Harvey – Let England Shake

I love driving around Brighton and environs listening to this, it makes me feel connected to the place and its history and timeless songs. It always fits with an English country drive. And it’s PJ Harvey…

Joni Mitchell – Blue

Of course it’s perfection as an album of songs and I will never tire of it. I love the challenge of singing with Joni, it’s impossible to get anywhere near her voice, but it feels wonderful, physically, to try.

If I could choose another it would be any Smog/Bill Callahan, I confess I listen to him quite obsessively…

[uttersorcery]

With the Elm How album “Me Howl”released tomorrow on Eyeless here is a few words about some of his life changing records...

Top 5 Albums (and not 1 single track mentioned, haha).

1. Nirvana - In Utero

I doubt very much that this list will be in any way surprising. However, I don't think I could ever list my favourite albums without this one. I had already long been into many of the Sub Pop bands by this stage, but this album rarely left my cassette deck. I even owned the tab book, convinced I could play along to it all. I certainly tried but it definitely had me tied to my first guitar, a very heavy, black left handed encore strat.

2. Jeff Buckley - Grace

I did say this list wouldn't be unique, but Grace blew my mind. It helped me realise there were other ways of not only considering music, and varying the things I listened to. By now I had begun to write my own songs, and that I could maybe challenge the habits of verse/chorus/verse. Thankfully none of those remain in existence though. Long before the Internet!

3. British Sea Power - The Decline of British Sea Power

Where to begin? Like me, also from Kendal. Old friends and often an inspiration. I have no doubt been to more BSP gigs than any other. I remember being at college back home, finally completing an art foundation when this came out, listening to it repeatedly on my CD Walkman, finally upgraded from tapes. Immensely proud of them and genuinely in love with the record. Speaking of records, it's probably about time I bought it on vinyl.

4. Pixies - Surfer Rosa/Come on Pilgrim

A bit of a cheat here, 2 albums in 1, and whilst I do actually own Surfer Rosa on vinyl, the original CD I bought had them both together. I worked at Our Price at the time I finally bought this, around 17. So many amazing albums were ordered for the shop, but never even made it to the shop floor. I think I was looking for something that would excite me as much as the Pixies. These albums still inform alot of how I think about and write songs today. And whilst my taste has broadened an awful lot, this will always take me back to my naiive youth.

5. Redd Kross - Phaseshifter

I thought alot about many options for number 5, notable absentees include anything by The Velvet Underground, 1 or 2 Neil Young albums, and many more from the grunge era. This list comprises some albums that have inspired me and take me somewhere, more likely back to my teens and twenties. Phaseshifter is a wonderful album. I can sing along to it all and often still do, especially when there are clouds overhead. Unashamedly rock and roll, noodling solos and fuzz guitars. Apparently they are still due to play at The Prince Albert, I must get a ticket.

Elm How “Me Howl” is released April 9th on Eyeless Records

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Track from forthcoming 'Timeslip' EP coming imminently to Eyeless Records from David K Frampton. 5 Trks including this of grainy-sliding Northern hemisphere pop.