Send "Eyeless in Gaza " Ringtones to your Cell 
| Tinymixtapes |
 Eyeless In Gaza, formed by Martyn Bates and Peter Becker in 1980, have been one of the most consistent and original outfits to emerge out of the post-punk/new wave era, yet I have always been puzzled, sometimes even dismayed, at the seemingly total and collective stepping over of their body of work by the music media at large. It’s difficult to imagine to what this can be attributed, especially when taking into account the undeniable quality of nearly everything they’ve released, but I suspect it has something to do with their outright refusal to acknowledge the latest musical trends in their own sound. Any time something new comes around, it seems that they’ve either done it already or, in hindsight, they get around to it when they damn well please. There is a particular type of evolution to the music of Eyeless In Gaza, a sort of infinitely rising spiral staircase, simultaneously covering roughly the same ground each time it curls back on itself and raising itself up to new heights.On Summer Salt/Subway Sun (originally released by A-Scale as a single album, here re-released in deluxe double-disc form), we see Eyeless moving through a few different major planes of experimentation. The multi-instrumental duo — which utilizes a diverse arsenal encompassing everything from traditional drum machines, synths, and guitars to tapes, harmonica, and glasses — slide flawlessly from utterly celestial, open electro-acoustic tracks, through more avant-folk, troubadour-like chanties (a form which is used much less here than on previous releases) into unabashed, bass-driven post-punk jams. It’s interesting how little percussion is utilized throughout the whole affair. A highly neutered drum kit and occasional drum machines serve only to flesh out the rhythms established by the bass. ...full text |
| Regenmag |
| The lazy heat of high summer days, captured through an eclectic blend of ambient rock, post-punk, and dreamy electro-acoustic experimentation.Eyeless in Gaza have seemingly grown more expansive, eclectic, and ambitious with every release, and considering that Martyn Bates and Peter Becker have been making music together for over a quarter of a century, that's really saying something. Originally released in 2006 on A-Scale Recordings as a single album, Summer Salt and Subway Sun now comes as a deluxe reissue featuring a second album of all-new material. Both albums blend seamlessly, each enveloped by the same dreamy lethargy of hot, late summer days, each blending elements as diverse as noise, ambient, and folk. The first CD, now simply titled Summer Salt, begins with the sleepy soundscape and muffled street noise of "Dust Box / Subway Sun," a piece as pleasantly mild as a summer morning, a groggy wake-up call one responds to with reluctance. "Whitening Rays" segues smoothly into post-punk territory with a softly hissing drum machine and a pair of guitars that start off dreamy, then blur into distortion as Bates croons "The years come like the beautiful sun / The stillness of stone," and despite the propulsion of beats and bass, it's a perfect description of the song itself: sunny, yet still. From there, the album progresses from the hypnotic space rock of "Mixed Choir" to the moody but psychedelic post-punk of "Antipathy Whisper" to avant-garde folk on "Where Vivid Bloomed" and "Ebbing All the Years," finally ending with the tranquil drones and flute-like ambience of "Ghost Blocks." Though shifting unpredictably from experimental abstraction to conventional song-structure and back again, there's never a moment that seems deliberately noisy or difficult; neither is there ever a departure from the overarching sonic and lyrical themes of tranquil but melancholy heat. Especially noteworthy is Bates and Becker's ability to conjure moods as somber as a Joy Division release without once having to resort to clichés of sound or image. This isn't music for candlelit rooms or foggy graveyards, but proof that sun-spattered city streets and full daylight are just as suitable for moody contemplation as any stereotypical gothic landscape. ...full text |
| Seaoftranquility |
| Eyeless in Gaza are a two piece band comprising of Peter Becker and Martyn Bates. They have been making records for over 25 years however, this is the first I have heard from this duo. This was originally released as one cd and a year later the second cd was added making for a pretty deluxe package. The music found here can be described as experimental electronic music or even post-rock. Most of the songs are slow to mid-tempo excursions containing lush electronic sound-scapes and tranquil ambient-like moments. Keyboards, melodium, bass, tapes, percussion and guitars are the main instruments used. Most of the music contained within this 2 cd set is similar in structure and melody. This did not bother me in the slightest as the songs flow very well together and there is nothing that seems out of place. It is clear to me that melody is an important component, but many of the songs have a high experimental factor that makes for some adventurous listening. The vocals of Becker and Bates are very melodic, subtle, and somewhat understated, which really fits this style of music. The first cd contains more typically accessible song structures while the second cd seemed a little more experimental to these ears. The first cd entitled Summer Salt has many satisfying moments and I will touch on a few of the highlights. "Whitening Rays" begins with stabbing electric guitar chords and a muted droning guitar sound. The layered dreamy vocals are very nice and give this one plenty of melody. "Mixed Choir" is an instrumental guitar based tune, experimental in nature and has a post-rock vibe. I really like the layers of sound created by the guitar and melodica. The stark piano and peaceful vocals of Bates in "Summer Salt" makes for a haunting but enjoyable listen. The ultra slow tempo and overall mellowness makes this one good for nighttime listening. Beautiful acoustic picking and excellent vocal harmonies make "Ebbing All The Years" my personal favorite and probably contains the albums nicest melody. Becker also lays down some nice bass work. ...full text |
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