Tag Archive | "Eyelids"

Eyelids – The Accidental Falls

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Eyelids – The Accidental Falls

Posted on 13 February 2020 by Dorian

The first time I listened to the Accidental Falls, Eyelid’s 3rd full album, I wasn’t immediately taken. Their first two grabbed me immediately, and have remained firm favourites, but this one felt different. I’m lucky enough to get access to some albums early, and my first listens were just before Christmas, and I put the album to one side knowing I had until February to make my critical assessment.

In January I started to listen to the album again, and after a couple more plays it clicked. Really clicked. It made perfect sense (if an album can make sense) and I went from lack of surety to certainty, this was a great album, as good as the first two. So, it seems, Eyelids have delivered their first “grower”.

Eyelids - Accidental Falls

The album differs from their previous releases in that the lyrics were written by Tim Buckley collaborator Larry Beckett, with the band providing the musical contributions. The effect of this is that the album sounds more 60s and 70s influenced than even their previous recordings. Not in a tired or pastiche way, more in a general mood and tone.

Opener ‘Dream’ is a beautiful languid piece built around a simple but captivating guitar line. Eyelids have always been built around the intricate guitar interplay and it is clear from song one that The Accidental Falls isn’t looking to deviate from that pattern.

The band can also rock pretty well and the title track ups the volume nicely. It is another great piece of melody with pounding drums and some big guitars.

The album has a great balance throughout of quiet tunes and more rocking numbers that you know will sound even better live. Special mention has to go to ‘Found At The Scene Of A Rendezvous That Failed’, simply one of the best songs on the album. It is probably the most self-consciously retro production on the album (and is a previously unrecorded Buckley and Beckett composition), you wouldn’t be at all surprised if you had heard the song on a lost Beatles demo. Mermaid Blues also deserves a mention with one of the nicest guitar lines you’ll likely hear all year.

I asked Eyelid’s own Chris Slusarenko whether producing an album based on someone else’s lyrics had changed how they approached the record.

“I think we were not really sure what would happen once we sat down with Larry’s lyrics.  That first creative get together with Larry was maybe a bit sheepish on our end.  He’s a total legend and I think we thought maybe we’d get a really special 7″ or EP out of it.  And since writing our own lyrics is such an important part of what we do I think we weren’t sure how the process would work.  But I went home with his giant stack of lyrics (ranging from the 60s to now) and wrote River.   John went home that same night and wrote insomnia.  We were off to the races really.  I sounded like we wrote those lyrics–it came from inside us.  After that the process ranged from sending songs for Larry to write lyrics to (At Sea, Dream) to a Goethe translation (The Accidental Falls–which is the most rocking Goethe translation of all time!  ha!) to one song that Larry  & Tim Buckley wrote together in 1966 (Found At The Scene…).   We just became it but really it feels like Eyelids.  I guess that’s why Larry was so good with Tim Buckley (and other artists).  You can’t even imagine that Tim didn’t write the lyrics because they were SO him!  I think the same can be said for Eyelids.  It just feels like us and the songs melted through us.”

The album definitely sounds different to previous Eyelids recordings, the response to the lyrics must have made a difference, but it loses none of the melodic brilliance that has made the band a Neon Filler favourite since they formed.

It is also nice to see the album getting press (and very favourable press) this side of the Atlantic. Hopefully some sales will follow, and we’ll see the band doing a UK tour later this year.

The album gets a valentine’s day release and is highly recommended for fans of the band or anyone looking for a great guitar pop album.


By Dorian Rogers 


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Best of the Rest 2018

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Best of the Rest 2018

Posted on 28 December 2018 by Dorian

We’ve already published our list of the best albums we heard in 2018. We could easily fill a top 10 list of tracks from 2018 from the top 5 albums alone, it was a string selection. But there were lots of other albums and songs released this year that we loved that didn’t quite make it into that chart.

So here, presented in no particular order with no comment, are 10 of may favourite tracks from other records that came out this year.

Eyelids – Maybe More

Steve Mason – Stars Around My Heart

The Breeders – Nervous Mary

Stephen Malkmus – Middle America

Swearin’ – Grow Into A Ghost

Teleman – Cactus

Superchunk – What A Time To Be Alive

David Byrne – Every Day Is A Miracle

Gaz Coombes – Walk The Walk

Menace Beach – Black Rainbow Sound

Compiled by Dorian Rogers


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Top 20 Albums of 2017 – Part Two

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Top 20 Albums of 2017 – Part Two

Posted on 20 December 2017 by Joe

Welcome to the second part of our end of year round up of the best albums 2017. This latest instalment reveals who has earned a coveted place in our top ten. The first part (20-11) can be found here

10. The Magnetic Fields – 50 Song Memoir

Magnetic Fields 50 Song Memoir

In which Stephin Merritt celebrates his 50th birthday by writing an auto-biographical song for each year since his birth. The results are pretty great and it is his best hit-rate since 69 Love Songs in 1999. Sprawling concept albums clearly suit him.

9. Guided By Voices – August By Cake

Guided By Voices

This 32 track double album is the 100th album that GBV frontman Robert Pollard has released. It is also the first album released with the latest Guided By Voices line-up, which brings Doug Gillard’s guitar skills back to the fold. Every band member gets some songs on this one, and the results are typically uneven in excellent GBV fashion.

8. King Gizzard and the Lizard Wizard – Polygondwanaland


Perhaps the only act that can compete with Robert Pollard’s production rate is Australian psychedelic rock outfit King Gizzard and the Lizard Wizard. They set themselves the ambitious task of releasing five albums this year, with a fifth due to be released “very very late in the year” according to frontman Stu Mackenzie.

Of the four released so far this is our favourite for our best albums 2017 list – full of prog rock/jazz treats like 10 minute opener Crumbing Castle and psyche pop gems such as Deserted Dunes Welcome Weary Feet. And what’s more it is available as a free download.

7. Mile Me Deaf – Alien Age


Sound the breakthough album klaxon. Wolfgang Möstl’s Mile Me Deaf act  has always been experimental but they are on the cusp of the big time on the basis of this Best album 2017 release

On previous album’s he’s been looking to push the boundaries of indie rock and guitar pop. Here he’s pushed, then smashed his way past them, veering off into trip hop, dub, jazz, and ambient. Above all, as XTC once proudly sang, This is Pop. Lead single Blowout is a great jumping in point for this entry into our Best albums 2017 list . Read our full review here.

6. The Flaming Lips – Oczy Mlody


This is best Lips release since they unleashed Yoshimi on those evil bastard pink robots during their last pop phase. After the mildly entertaining albums Terror and the awful Embyronic, Wayne Coyne and co have gone accessible again, with new classics such as How?? and There Should Be Unicorns among their best ever. Read our full review here.

5. Girl Ray – Earl Grey

Girl Ray - Earl Grey

We are delighted to include this impressive debut from Girl Ray, a quirky lo-fi pop trio from North London. This will particularly appeal to fans for Gorky’s Zygotic Mynci with Don’t Go Back at Ten among our favorites. Read our full review here.

4. LCD Soundsystem – American Dream

LCD Soundsystem

The LCD Soundsystem split didn’t last too long, and this album is a high-quality return by the band to recording. The sound is unmistakably LCD Soundsystem (even down to the usual influences) and there are a few playful tracks among some slightly sombre numbers. This is a welcome entry into our best albums 2017 top ten.

3. Robyn Hitchcock – Robyn Hitchcock


It’s taken 21 albums but Robyn Hitchcock has finally gone down the self-titled route for a release, which by happy coincidence just happens to be one of his best in years.

From its purple, cat stroking, cover to its backwards guitars, it is a psychedelic explosion of awesomeness, with oodles of noodles of nods to the late 1960s and early 1970s.

The twinkling, shiny pop of Mad Shelley’s Letterbox is a particular highlight. Read our full review here.

2. Broken Social Scene – Hug of Thunder


Just like the Flaming Lips, the almighty Canadian collective of Broken Social Scene also saw a return to form in 2017. The return of Leslie Feist to the line up takes them back to their early hey-day, especially with her jaw droppingly awesome vocals on the title track.

New member Ariel Engle, who takes lead vocal duties on Stay Happy, is another impressive addition. While Halfway Home is A fantastic alternative rock anthem that shows just how good this album is within their already prolific two decade spanning back catalogue.

1. Eyelids – OR

Eyelids Or

Featuring members of the Decemberists, Guided by Voices and Stephen Malkmus’ Jicks, Eyelids have leapt to the top of our list thanks to their sweet, jangly melodies on tracks such as Falling Eyes.

This second release from the band also adds ex-REM man Peter Buck into the mix as producer to give it extra class and a 1980s alternative rock feel. A triumph and deserved number one album in our best albums 2017 list. Read our full review here.

Compiled by Joe Lepper and Dorian Rogers


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Eyelids – Or


Eyelids – Or

Posted on 02 May 2017 by Dorian

Or, the second album by Eyelids (the band being confusingly called Eyelids Or in the UK), comes hot on the heels of their first ever UK dates and my opportunity to hear some of their new songs for the first time live. The new songs they played, plus the couple already released as singles, gave me a pretty good idea what to expect from the album. Sophomore releases can be disappointing, often pieced together from sings written at the same time as the debut in order for a label to get a quick follow-up release. With Eyelids being made up of veterans, with many albums to their credit, this wasn’t ever going to be the case and this album is filled with the freshness and wealth of ideas you’d expect from a band at their peak.

Eyelids Or

The album kicks off with ‘Slow It Goes’ a single that was a real statement if intent when it came out last year,  all sparkling riffs and 60s beat-pop vocals. ‘Camelot’ keeps the pace up with a guitar line that could be straight from a Cracker record and guest keyboards from Jay Gonzales (from Drive-By Truckers) adding some extra depth.

This is an album with some nice changes in pace and after a break-neck start we slow down for the rather lovely pairing of ‘Falling Eyes’ and ‘Tell Me You Know’, the latter pulling in some of 60s psyche influences that were front and centre on their debut.

This is an album which is expertly sequenced and really doesn’t sag at any point. As such I’ll avoid the temptation tom wax lyrical about each song here. Honourable mentions go to ‘My Caved In Mind’ (another single surely?) which features an insanely catchy almost new-wave opening riff and ‘Moony’. Any song that sites Black Sea era XTC as the influence for the rhythm section is alright by me.

The real triumph of the album is how well the band pull all the different elements together across the board.  The playing is uniformly great, their debut showed off some great guitar playing and this release continues to impress. It isn’t just the guitars though, strong vocal harmonies and an excellent rhythm section make this more than just about the axes.

The use of guest performers is another big tick in the box. Sometimes when a band brings in guest players it feels like little more than an excuse to get a name on the liner notes. The guests here all have a purpose, and that purpose is to sound as much like themself as possible. When we hear Peter Buck’s mandolin it sounds just like Peter Buck and when Jonathan Seagal’s violin comes in it could only be the Camper van Beethoven man playing. This is a band of musical magpies and the bits of magic they bring from other bands, from other influences and different sounds is all carefully designed to make Eyelids sound as good as possible.

Peter Buck also produced the album and, along with engineer Thom Monahan, he does a great job. This is an album that sounds really good, all the elements are given space and the balance on the album is just right. Buck is clearly a fan of the band as well, appearing (see above) in the video for ‘Falling Eyes’.

If you loved their debut album you’re going to love this, nothing about it disappoints. If you haven’t heard Eyelids already then this release is a great place to start (before quickly going back to hear their previous LP and EP releases). You can thank me later for introducing you to your new favourite band.


By Dorian Rogers


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Drive-By Truckers and Eyelids OR  – Concorde 2 Brighton (Mar 04, 2017)

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Drive-By Truckers and Eyelids OR – Concorde 2 Brighton (Mar 04, 2017)

Posted on 07 March 2017 by Dorian

This review is presented in reverse. Typically a review spend a few lines on the support act and then focuses for most on the time on the headliners, but I’m doing the opposite. That isn’t because I’m not interested in Drive-By Truckers or that they didn’t play a great set, far from it, but Eyelids OR are the band who got me out to the gig on this occasion.



Drive-By Truckers are a band that I’ve been conscious of for a long time, but never really listened to before preparing for this gig, so it is a bit of a surprise to me just how popular they are. The Concorde 2 is a sell-out and this is the night after a packed show at the cavernous Roundhouse, the crowd love them. As a newbie I’m more enamoured with them when they crank up the volume and really hit the guitars, but this is a confident band at the top of their game.



Eyelids (I’m dropping the OR for the rest of this review) in comparison, despite having members who have been playing for decades, are the relative new kids on the block. They are a big Neon Filler favourite but have never played outside the US prior to this tour, most of the crowd don’t know the band. They also have a tricky set tonight with their 30 minutes on stage starting at 7.15, just 15 minutes after the venues doors open.

Co-front-man Chris Slusarenko is chatty from the get-go and wastes no time introducing the band and launching into a brand new song ‘My Caved In Mind’, from their forthcoming album OR. They sound great, the melodies are sweet, the energy high and the riffs burst from the venue speakers. It is a timeless sound, one that evokes 90s US indie rock as much as classic indie UK bands like The House of Love and Teenage Fanclub. It’s a pretty perfect start.



The band loosely alternate between lead vocals with part-time Decemberist’s drummer John Moen being the more reserved of the two. He looks slightly odd with a moustache replacing his former beard but his songs are just as catchy and classic sounding. ‘Bound To Let You Down’ is one of the many songs they play that would have been a radio hit in a more enlightened time.

Three guitars can often be a mess live, but a skillful balance between restraint and the desire to rock out means that they sound great and melodies don’t suffer. On forthcoming single ‘Camelot’ they are joined by Drive-By Trucker Jay Gonzalez who adds some lovely keyboards to the mix.

The band makes the most of their 30 minutes and I count three new tracks and about half a dozen songs from their catalogue in their set. They even manage to slip an extended psyche-rock breakdown into ‘Say It’s Alright’, a song that highlights what a great band they are and how solid the rhythm section is.

So, short but sweet and a great sign of things to come. The new songs sound great and if there is any justice the new album will drop to rave reviews. I’m keeping my eyes open for news of a headlining tour, and a full length set, some time soon.

By Dorian Rogers


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Introducing… Eyelids OR

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Introducing… Eyelids OR

Posted on 25 January 2017 by Dorian

We’re not really introducing Eyelids OR (or just Eyelids in their homeland) as we have been going on about the band for some time.

We reviewed their debut album 854 back in 2014, and we’ve been raving about their subsequent single releases ever since.

However the band have just announced their first ever UK dates, supporting Drive-By Truckers, so it seemed to be the perfect time to catch up with the band’s songwriters, Chris Slusarenko and John Moen, to find out a bit more about the band.

You have been playing together for years. How did you meet?

JOHN: Chris and I met as young guys playing music in Portland. I moved to town in 1986 just after graduating from high school. Our bands played together here and there, but I especially remember being introduced by the cartoonist, Joe Sacco at a cafe. We were both skinnier then. I was bleaching my hair to stand out, and Chris wore a beret. I think we were both carrying satchels full of poetry.

Why Eyelids? (and how do you come up with band names? How do you top Death Midget?)

CHRIS: Well Death Midget was born out of innocence and teenage years. Plus it was the era of Butthole Surfers, Killdozer… So it fit our mess. To tell you the truth I’ve rarely got to name a band I’ve been in and I always thought Guided By Voices was one of the greatest band names of all time so it was special to be part of that. But names are tough… Eyelids (with an Or attached for our home state of Oregon—blessed on us via Tim Burgess of The Charlatans UK) just seemed to sound like our music a bit. A bit hazy, a bit eye-opening… It so weird when I stop to think about the word “eyelids” it just starts to fold in on itself… Once you’re the name you rarely stop to think of what it means anymore… it just becomes you.


You’ve both been in the background in some great bands, How do you feel about being the front-men?

JOHN: I think it’s terrifying, but it’s also kind of hard to resist. It seems there’s a fine line between “rocking-out” and looking like you’re about to die. Chris does most of the talking, thank goodness.

CHRIS: I can’t help the banter!!! Singing with Jonathan and John is easy–they come up with great ideas and I’m always surprised to hear harmonies. All my earlier bands never had them!!! Argh…so nice to have finally! And since John and myself both sing and write the songs it’s a nice back and forth between us live as well. I do like to rock out and look like I’m going to die so I’ll take that position for the band…everyone else can look cool. I’ll sweat it out…!

I first came across you from your work with Robert Pollard in Boston Spaceships. He’s a ten album a year kind of guy. How do you keep up? (Both in the recording and the drinking)

CHRIS: Well you just gladly jump in. Part of Bob’s work ethic definitely had an effect on John and myself and was the reason that we both realized we worked really well together. Since Bob would send us a cassette of him singing and playing guitar John and myself had to quickly help create the album he wanted (knowing full well there was another EP or LP or double LP breathing down your neck right behind it). I really wanted to go back to way early GBV worked. Not letting the “band” know the song very well and just get inspired takes before over thinking it. That has kind of flowed over into Eyelids where often the first ideas we play over someone else’s song tend to be the ones we use. Just letting your mind and fingers drift… none of us are what you’d call smoking guitar players but we do love our riffs and hooks. As many as we can pile on we will. And in terms of releases with the upcoming RSD 7” we’re doing with Gary of the Cribs singing lead and the full length in May that will be 5 7”s, a 12” Ep, and 2 full lengths in under 3 years… not too shabby. And we have 4 songs already finished for our next EP as well.

854 was one of our favourite albums of 2015 (and 2016 when it came out in the UK). How do you follow that on your second album?

CHRIS: This is actually the only second album I’ve ever made that I’ve been a principal songwriter in besides The Takeovers albums I did with Bob (Chris performed and wrote all the music, Robert Pollard sang and wrote lyrics). So it’s kind of abstract to think about what a 2nd album means for us. The first album was made with John, Jonathan and myself as a recording project/dare. But after we put a full band together to play the songs live a different character came into it as well. The EP we did after 854 reflects that pretty well. It rocks a little more but still has that weepy quality that I like. The new album was the first one where all 5 of us were there from the beginning and it was pretty exciting to hear that. For example I was playing a new song to everyone called “Moony”. It’s kind of a pretty looping type feel. But then John and Jonathan started adding this cool Television type interplay and Paulie and Jim were playing this XTC Black Sea area drumbeat and I was so happy. My simple little phrase all the sudden had an unexpected life pumped into it.

Peter Buck is producing for you, how did you come to work with him?

JOHN: Peter moved to Portland several years ago, and he is very generous with his time and talents. We are connected through Scott McCaughey who played in REM, and was instrumental in helping my first recording/touring band, Dharma Bums. Scott produced that bands first record and encouraged us in many ways. Peter has played guitar on a Decemberists record, as well, and he would come into Chris’s video store fairly often, where they got to know one another. Also, Chris was pretty heavy into the REM fan club in the old days. I believe he and Peter corresponded. All that to say, we are huge fans and we had to ask him to produce!

CHRIS: Yeah I wrote to R.E.M. right before Murmur was released and Peter was kind enough to write back. We wrote back and forth about 3 years after that. They’d send me reject photos, weird old posters, chronic town t-shirts that were bootlegs. Very generous. He told me they always wrote to anyone where the hadn’t played yet figuring someone in NY or Chicago would find their way. But at the time they were thinking “what the hell is Portland?” Then we re-connected as adults and it’s been a great friendship. And in terms of producing you really want to do well when he’s in the room! No waste ya know!!! He’s got great ideas and he’s been great to work with.

You also have a Record Store Day release with Gary Jarman of The Cribs on vocals, how did you come to pick him for the track?

CHRIS: I’d written some music for Robert Pollard to sing over called The Carbon Whales. It was a fake UK Post-Punk band—like a lost EP that he released. Gary heard it and said it was so convincing and true to the spirit of the original era—he loved it. So when we wanted to do another Record Store Day 7” I wanted to do something that would stand alone. So many RSD releases these days are live tracks or reissues. I wanted something that was made specifically for this event. So we thought it would be cool to have a Gary and his intense Wakefield accent sing lead on both tracks. He’s got such an amazing voice and delivery. It was perfect. I wrote the songs as I would have when I was 17. Kind of innocent but full of confidence. The lyrics I banged out really quick too. Then we all just played on it and had Gary come in and it became a real thing. The 7” is called Eyelids Meet Gary Jarman.

Eyelids Live

Your dates with Drive-By Truckers are your first gigs in the UK. What should we expect from an Eyelids live show?

JOHN: Jet lagged American imperialists, of course! Ha. We are a rock band trying to play pretty… Sounds terrible, right? I really don’t know… I’m sure we will be a bit giddy to be playing with the Truckers(amazing!) in such killer venues. As a band, I think we are good at enjoying the moment together, and that energy( along with the songs that we are quite proud of) translates as a good time to those watching and listening.

CHRIS: I never get tired of playing out and to finally get to play these songs overseas will be incredible. Live I think we’re pretty kick ass so hopefully people will be ready for the songs to be amped up a bit. Pretty and loud. Also I’m a total anglophile in terms of music, film, books… For instance we’re doing an in-store at Rough Trade Records and to me as someone all the way over here on the West Coast of the U.S. it still makes me flutter my eyelids… can’t help it…

If you had to sell Eyelids to someone who had never heard you play before, how would you describe the band?

JOHN: I often dream of not being a salesperson… but, if cornered, I would say that we are a melodic rock band that wouldn’t mind being thought of as an (inclusive) art project. We are strong enough that your weird uncle won’t think we suck, but are soft enough to remind you of that rare house cat that will allow you to stroke its belly. There you go.

CHRIS: What he said.

Chris and John were interviewed by Dorian Rogers

Tickets for the band’s shows with Drive-By Truckers are available here.


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Sixteen of the Best Songs of 2016

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Sixteen of the Best Songs of 2016

Posted on 29 December 2016 by Dorian

We recently published our Top 20 Albums of 2016, but this only reflected a section of the amazing songs that came out this year.  There were great albums we missed, albums that just missed out and songs that came out on single this year. So, as a bit of an end of year bonus, here are the best songs of 2016 that didn’t feature in our end of year album list.

16. ESP Ohio – Royal Cyclopean

It wouldn’t be Neon Filler without a Robert Pollard track, and this horn driven gem from his latest collaboration with Doug Gillard is one of his best this year.

15. The Wedding Present – Rachel

There are rumours that this year’s Wedding Present album may be there last, if that is the case then they are finishing on something of a high.

14. Childish Bambino – Me and Your Mama

Donald Glover is a successful comic actor, the face of the young Lando Calrissian and a Grammy award-winning singer, sickeningly talented.

13. The Shins – Dead Alive

The Shins releasing a song that sounds like they could have recorded 15 years ago may not seem that exciting, unless you think early Shins is about as good as music gets. Which I do.

12. Allo Darlin’ – Hymn on the 45

Allo Darlin’ sadly called in at day in 2016, but just as they played their final shows they released one last single. A final document, if nothing else, of why they’ll be missed.

11. Car Seat Headrest – Drunk Drivers/Killer Whales

Car Seat Headrest is the work of Will Toledo, this year’s bespectacled indie geek de jour. The album justifies the hype this time around.

10. The Avalanches – Subways

The new Avalanches album may not be much of a step forward given the huge gap between this and their debut recording, but there were enough good songs to make it worth a listen.

9. Parquet Courts – Human Performance

The New York band have been releasing consistently great music since they broke through with Light Up Gold in 2012. The title track from their latest album shows them in almost subdued mode.

8. Angel Olsen – Shut Up and Kiss Me

2016 was a bit of a breakthrough year for Angel Olsen, her 4th LP getting a lot of attention and radio play. This track showcases as much fuzz-pop as folk and is a bit of a break from the softer country vibe she’s associated with.

7. Case/Lang/Veirs – Best Kept Secret

Three of the best vocalists in country-pop come together and, unsurprisingly, the results are great.

6. Okkervil River – Judy on the Street

Every two or three years Will Sheff’s band release an album and they all range from good to excellent. This track from Away is no exception to the rule.

5. Teenage Fanclub – Thin Air

More than a quarter if a century in and Teenage Fanclub can still produce some of the best melodic guitar pop around.

4. Girl Ray – Trouble

One of the best bands that we saw at Indietracks this year and one of the bands to watch out for in 2017.

3. Field Music – Disappointed

Due to its release at a busy time we sadly didn’t get round to reviewing Field Music’s excellent 2016 album Commontime. We still loved it though and can assure you it was a typically excellent release from the Brewis brothers. This was a single and one of the best tracks.

2. Luke Haines – Smash The System

Smash The System saw Haines revisit some of his previous themes, with a number of nods to his Baader Meinhof album. The Monkees references in this song are confusing but welcome.

1. Eyelids – Slow It Goes

Eyelids didn’t have a new album out in 2016, that is coming next year, but they did release this song and showcased what we can look forward to. Excellent video as well.

Compiled by Dorian Rogers


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Eyelids – Bound To Let You Down


Eyelids – Bound To Let You Down

Posted on 14 October 2015 by Dorian

In this new video from Eyelids (Eyelids OR in the UK) the band show their more gruesome side as animated characters. The song is taken from their self-titled EP, produced by former REM guitarist Peter Buck.


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Eyelids OR – 854

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Eyelids OR – 854

Posted on 04 October 2015 by Dorian

Nearly a year ago we reviewed the debut album 854 by the Oregon band Eyelids, and it was one of our favourite releases of the year. The band have added the “OR” part to their name for this release to avoid confusion with another act and signed to Charlatan Tim Burgess’s Ogenesis label.

Eyelids OR 854

You can read the full review of the album which sounds even better 12 months later. If you buy 854 on a physical format you also get 6 bonus tracks to enjoy. Only one of these is a new Eyelids original, the other being covers plus an alternate take of ‘Psych #1’, but they are definitely worth a listen.

Fingers crossed that the long awaited UK release of the album will lead to a tour on these shores some time soon. Watch this space for Eyelids news as we get it.

By Dorian Rogers


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Eyelids – 854

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Eyelids – 854

Posted on 16 October 2014 by Dorian

When Robert Pollard chose to bring his Boston Spaceships project to an end (the band that released our favourite album of 2011) the core of the band stayed together and formed Eyelids. Headed up by Chris Slusarenko and John  Moen the band play a classic hook laden rock that evokes Big Star, The Byrds, Teenage Fanclub and Velvet Crush across their debut album 854.

Eyelids 854

Now, I’m not at all surprised that this is a good record. John Moen has played with the Jicks, The Decemberists and Eliott Smith (and dozens more, so he clearly has good taste and is a skilled musician. Chris Slusarenko to my mind is the equal of Tobin Sprout and Doug Gillard in being the perfect foil to Robert Pollard, their work together as The Takeovers is among my favourite of the Guided By Voices side-projects. What does surprise me is just how good a record it is, and one that is making a strong challenge to be my favourite of the year so far.

The album splits loosely 50/50 between John and Chris taking lead vocals and both is in fine voice on the record. Backed up with some lovely vocal harmony work the voices sound great throughout. In fact ‘854’, the albums title track, features lead vocals by them both and is possibly my favourite track on the album.

The playing is great too, with fine guitar work provided by the two lead singers as well as fellow Boston Spaceship’s alumni Jonathan Drews. A strong rhythm section (Jim Talstra on bass and Paulie Pulvirenti on drums) completes the band and we have a very full and fully formed sound on our hands.

Strong singing and playing is nothing however if the songs aren’t good enough, and my past experience of the band members gave me no clues as to their songwriting chops. The good news here is that the songs are uniformly great right from the twin single blast ofd ‘Seagulls Into Submission’ and ‘Psych #1’ through to the tense and hurried ‘Say Its Alright’ (complete with a vicious guitar solo) and the final calm of ‘From A Distance’. These are songs that have a classic sound but also have a real timeless quality, this isn’t retro-rock for the sake of it, you can tell that the band care about these songs.

Throughout the record their are sweet hooks, catchy phrases and magic moments to enjoy.  ‘Abby’s Friends’, sitting in the middle of the album, possibly edges it for me as my favourite song on the record, and perfectly encapsulates all the great elements that make it such a satisfying release.

This is an album that I enjoy more with each listen, and one I expect to come back to for years to come. Hopefully it is the first of many releases from the band.


By Dorian Rogers


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