Review on Rotation 11

The underground Goth and Dark-wave scene has been churning up some unique artists lately as we have discovered another captivating band Double Eyelid from Toronto, Canada. Their 2014 debut release, Seven Years can be best described as dark, theatrical and moody. Lead vocalist, Ian Revell is the mastermind behind this project, not only does he provide the vocals, but contributes to the synths, drum programming and various piano and acoustic guitar throughout. Rounding out the band is Karl Mohr (guitars, bass, synths and drum programming) and Benjamin Mueller-Heaslip (piano and organ). What makes this album distinctive is they don’t pigeon hole themselves into one style, they blend a few genres together well enough to keep our interest. Their talents range from straight-up old school Goth to dark Post punk and electro ambiance.

Opening the album is the melodramatic and atmospheric “Black Box”. The vocals are theatrical and morose, fitting the style of the song very well. The sporadic use of the piano along with the vocals and the soft, persistent percussion all help create this sullen atmosphere. It’s a great song to draw you in and get you attuned to the album. “Diamond Cutter,” track two has a similar captivating feel, yet is a bit more upbeat and electronic. The vocals here have a subdued Marilyn Manson on dope feel, it’s very enticing. Track three, “She’s Falling” is an absorbing song with dark piano arrangements, vampiric lyrics and ghostly background vocals. The song “John” exudes a Moby Animal Rights sound; it’s a short story of a man who fell down stairs to his demise.

Moving on to “Dead Is Better,” the first single released, is a fusion of electro Post punk and Alternative structures, it will definitely lure in those who frequent this style of music. “The Hanging Woman” brings back the dark theatrics that we have come accustomed to. The sullen piano finds its way back into this one; we seem to be drawn to the use of the piano throughout the album, as it brings some eloquence to the songs. “The Quick and the Damned” mixes things up with a quickened alternative/technco vibe; there is something cunning about this song that pulls us in after a few listens, possibly it is the echoed, fast-paced singing.

“Dirty Weather” is a soft, dramatic rainy day loner song which than leads to “The Stranger,” which is a remake of the classic 1984 Goth song from Daucus Karota. They do the song justice by adding their own flare to this version. It is quicker with more of an electronic sound. The last cut “He Fell” is an ambient effects outro, we think there is some spoken word nestled in here, but we can’t be sure, it’s very intriguing way to end an album.

Seven Years brings something different to the table and their willingness to go outside the box is refreshing for this style of music. They have a unique flare for the dramatic, theatrical side of the Goth and art-damaged genres.

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