The final day of 2015 saw the release of The Flood, the new EP from Swedish band Eyemouth, and the final instalment of their intent to release a quartet of EPs across last year. As its predecessors, the five track proposition is an electronic adventure for ears and imagination spun in a tapestry as raw as it is melodically seductive and as emotionally magnetic as it is thematically tempestuous. Our introduction to Eyemouth came with their excellent previous encounter Noera Genesis and there is nothing about The Flood to dampen our appetite for their compelling sound and invention.
The origins of the Göteborg hailing Eyemouth begin in 2011 with synth band Estrange and a collection of songs bred from and with a different approach to previous tracks from the Swedish band. Later that year Estrange became Eyemouth as the music continued to evolve, the likes of shaman drumming, vibraphone, tuba, and trombone being added to the expanding exploration within the band’s “more organic and instrumental direction.” It was March 2015 though, when the band’s debut release was unveiled, the Black and Blue Latitudes EP soon sparking keen attention escalated further by its successor Non Compos Mentis in June and the following Noera Genesis last September. As mentioned the final breath of last year gave up The Flood, a fourth creative tempting of light and dark textures which simply grows in ears and emotions with every passing listen.
As its predecessors, The Flood is a fusion of varied rock imagination and post rock ambience upon an electronic landscape, and as those before, a release hard to truly pin down in sound but easy to be enthralled by and lost within as shamanic rhythms alongside haunting melodies and vocals shape a tapestry of contrasting and increasingly alluring textures. It begins with I Am Never and an electronic web of pulses and punchy beats covered in welcoming yet dark lures of brass. Swiftly the quartet of Marcus Lilja, David Lilja, Tove Ekman, and Joakim Åberg has ears stirred and attention drawn, the first tempting of vocals rich enticement within the eighties hued scenery building the expanding landscape of the song. A noir colouring and expression to the encounter equally grows, especially as the quaint yet dramatic suggestiveness of the mellotron spreads across the still minimalistic but increasingly volatile exploration.
The track makes for a gripping start which only blossoms further in ears with each listen, a quality all tracks carry as shown by Pendulum. The second song also makes a low key entrance but is quick with its creative and provocative drama as that ever present tribal underbelly of rhythms and percussion cores a spreading charm of melodic and harmonic warmth aligned to melancholic beauty. Things only get richer and more unpredictable too of course; grainy industrial essences colluding with poetic folkishness and poppy rock bred imagination within the absorbing flight of sound and word.
The mellotron led visual curiousness of brief instrumental Necessitarianism follows before Away serenades the senses and thoughts with its classical keys and organic shanty like shuffle of voice and reflective melodies. An exotic air also pervades the song, a breeze blowing in varying strengths throughout the whole album where santur and accordion amongst other elements colour the unique hearts and characters of tracks and themes.
From one riveting offering to another as To Go brings The Flood to a potent close, its bewitching presence another aural fascination which is part folk song, part sea shanty, and all impressive imagination where finding new nuances and pleasures is a perpetual reward with every listen.
As Noera Genesis there is a cinematic quality to The Flood too and a ghostly air across its creative and evocative exploits which only adds to its rich and increasingly potent lure. Eyemouth are inventive drama and dark beauty for the eyes and one of Europe’s exciting emerging adventures.
The Flood EP is out now via most major online stores.
Pete RingMaster 04/01/2016
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