Brutal Resonance

Toronto based Double Eyelid has been (self) described about the place as “art damaged goth glam gutter” music. However for the purpose of this release Broken Mirror I am going to go with “EBM Goth rock with a bit of artyness thrown in” assuming you need a genre to help you along. Formed in 2009, Double Eyelid is the trio of singer Ian Revell with guitarist Karl Mohr and keyboardist Benjamin Mueller-Heaslip with a drum machine.

Broken Mirror is essentially 11 remixed tracks from the album Seven Years in 2014, but as I haven’t heard the album I can assure you this works well as a piece of its own. What drew me to wanting to hear this release was that two remixes were done by bands (Leaether Strip/Psyche) I have been a fan of for a very long time and been fortunate to work with myself, so my interest was piqued and I am happy to say I was not disappointed.

Leaether Strip's remix of 'The Stranger' opens the album and sets the rest of the tracks up well. The first thing I thought of when I heard the track was the familiarity of the LS sound and that the vocals of Ian Revell were not dissimilar to Matt Johnson though somewhat more breathy and maybe a little more intense and emotional and that impression happily continues throughout the album.

The Reactive Black remix of 'Black Box' follows and it has the classic hallmarks of goth styled love songs with big guitars, clean beats, weird background pads,chorus vox, steady basslines and that breathy dramatic vocal. EBM steps back in for the Tyler Milchmann remix of 'Dead Is Better' which was the single and video from the album. Clean crisp and slightly unnerving in the best of ways.

'Woman Hanged' (nTTx remix) is a punchy bassline of a track with guitar stabs and almost industrial sweeps throughout the background with the again whispery vocals that by now make you, for now, forget the Matt Johnson similarity and enjoy them for what they are in amongst the music. Psyche's remix of 'Black Box' follows and takes us through a cold/darkwave version of the original track. Tinkling piano with minimal bass and beats. A beautiful version and nothing less than expected from Psyche.

Dead Red Velvet (also the guitarists project) gives us an almost ten minute version of 'Diamond Cutter'. I love this track and as such it now sits in my DJ folder of tracks to play. A wall of sounds and beats that grow and grow and grow and almost overwhelm you. Just as its about to get too much noise to discern, it drops out to the effected vocals and rolls through various bits of the intro sounds and beats. Ten minutes goes through quickly as there are acid basslines, trance, guitars and different beats that keep it interesting all the way through. The stand out track on the release I believe.

The Matt Johnson comparison really shows through again with the DJ Cruel Britannia remix of 'She's Falling' and brings us nicely back to a goth tinged feeling which feels closer to the concept of Double Eyelid although with more synth-bass and pad involvement. 'Dead Is Better' gets another work over, this time, from Lanada. This version sees more of a chaotic instrumental attack with drops, rises, female vox and a more of a clubby track feel to it.

The Klomb remix of 'The Stranger' is the shortest track on 'Broken Mirror' with lots of punchy beats, old school acid techno sounds, drops and breaks. 'Cold is Better' is again a more minimal version of what’s already been on the release and adds some rollicking guitar and deep heavy basslines to push the track through nicely.

We finish up with the sonically disturbing (in a good way) Double Echo remix of Woman Hanged titled 'Hanged in Dub'. And plenty of that awesome dub style is in there in the way of echos and reverb in and out of the track smothering and enlightening the vox. Brilliant.

Broken Mirror as said before, is 11 tracks running at just under the 65 minute mark and while there are 6 originals remixed, they are varied and interesting enough that this release stands well on its own as an album to listen to. With some remix-only releases, you do get the feeling you're listening to the same song with a slightly different *thing* happening in it. Thankfully, with Double Eyelids Broken Mirror you don’t get that vibe, which in itself isn’t an easy task to achieve. There are great songs for DJs to use in pretty much all the EBM/goth/gothrock genres as well as being a great album to just plug in and play loud.

I suggest you go and do just that!

8.5/10 

Louder Than War

Dark Toronto art-rockers release re-mix album of last years acclaimed debut. Mark Ray reviews for Louder Than War.

Double Eyelid, formed back in 2009 by Ian Revell, released their debut album, Seven Years, last year to much acclaim. Now, tracks from that release have been re-mixed and re-interpreted by artists from the goth and industrial scene, including Leaether Strip, Psyche, nTTx and Tyler Milchmann. However, you don’t have to have heard Seven Years to enjoy these new versions.

There are obvious influences from the early 80s – BauhausBowie – but also the art rock of Sex Gang Children and Roxy Music, the literature of Poe, the cinema of noir, and the theatre of Grand Guignol to create a witch’s brew of dark music that probes our primeval vestigial fears and subconscious superstitions. The music inhabits a place where dreams vie with nightmares and nothing is quite what it seems. These are songs of graveyard vistas and cityscapes of creatures who inhabit the subterranean clubs and shadows of urban decay. But Double Eyelid never lose sight of a damn good tune. They may wear their influences on their sleeves, but the cufflinks are the artists own.

It opens with a cover of Daucus Karota’s The Stranger (re-mixed by Leather Strip). It has a dark beat overlaid with seductive vocals that creates images of a gothic nightclub. It builds up with sinister undertones. There is another re-mix of this song on the album (by Klomb) and that one sounds as though it could be used as a soundtrack to The Cabinet of Dr Caligari. Indeed many of these songs could be used as soundtracks, conjuring up images akin to Blade Runner or the first Terminator film. It’s testament to the multi-layered and tension building arrangements of these songs that they can create such vivid imagery.

Back Box (Reactive Black re-mix) has a heavy, grinding guitar that reminds me of Iggy Pop’s The Idiot. It’s an unrelenting dark romance. There is a theme running through many of the songs of mysterious women and obsessive men. You know it’s not gonna end well. It’s a great song that gets a completely different mix by Psyche – that mix is sinister, jerky, with off kilter rhythms. It feels like you’re entering the haunted house on the hill.

The original Dead Is Better is a modern classic of the genre and Broken Mirror includes three mixes of this great song. The first version is a Tyler Milchmann mix and evokes a gothic soundscape where cemeteries are places of regret and broken dreams. Dead Is Better is all about moving on – some things are better dead. But the female protagonist of the song forms attachments that she can’t move on from, that will always hold her back, and drives her to visit that graveyard of memory where she picks over the bones of what might have been. This first version has overtones of Vangelis’ Blade Runner soundtrack mixed up with Sisters Of Mercy. The second version, mixed by Lanada, has a burlesque, dark cabaret, feel to it. The final version, renamed Cold Is Better, positively crackles with ice. You can feel the cold as it starts, the guitar coming in like brittle sunlight. Then, in the distance, the sound of thunder, or maybe the ululation of an ice-breaker ship, searching for the monster in the frozen seas. The guitar now jerks like Psycho’s knife and the melancholic, almost fearful, vocals sound across the bleakness. It’s a dark joy.

Broken Mirror is a perfect companion piece to Seven Years which can be fully enjoyed on its own. It’s a minor masterpiece and shows that the darker side of rock still has so much to offer. Double Eyelid are a band well worth discovering. Just peel back your skin and plug them into the darkest regions of your brain.

08/10

Peek-a-boo Magazine

Admit it, if you read in a biography that a band is influenced by Bauhaus, Sex Gang Children, David Bowie, Edith Piaf, and Christian Death, you immediately want to play that record, right? In all fairness, daily our editors are bombarded with new death rock groups that claim the same, while often they are nothing more than a slight decoction of their idols, but that is different with this Toronto band.

The music of singer Ian Revell, guitarist and keyboard player Karl Mohr Benjamin Mueller-Heaslip is even more than just death rock or post-punk. The first song (and also the single) Black Box immediately evokes the dark days of The The, while Diamond Cutter is almost a tribute to the later Wire. Those names do not just fall from the sky, because the ten songs (even including the cover of The Stranger by Rozz Williams) have an idiosyncratic post-punk sound that can be situated somewhere between Television and Bauhaus. So, do not expect any sing-alongs like say Editors or White Lies, but rather intelligent compositions with a dark twist likeShe's Falling, that could have been written by Nick Cave.

No,this Canadian trio doesn't makes it easy for the listener, but that's a good thing. That is why we still listen to Marquee Moon after 40 years, and that could be the case with Seven Years too!

Didier BECU
23/10/2015

The Intestinal Fortitude

... From beginning to end, this is a thrill-ride of sounds that borrows bits of the old, mates them with something completely unique and genuinely befitting of its own class, and births them into a haunting world of painful ghosts and ever-hungry, always feeding bleak memories, granting no one caught there, ever, an escape. These pieces are accompanied by beautiful, sometimes aggressive (as the ghost-memories themselves), multilayered tunes carried by the smooth bass and sudden, brilliantly placed discordant piano breaks to accompany these tales of emotionally mutated (and mutilated) loves and lives gone horribly awry. All the while, an element of classy, obsessive sleaze permeates the album. Our narrator knows exactly what he wants within the realms of this surreal, deceptive, and forever cruel world of the most isolated armageddon’s of hell-shattered hearts and souls, and it is not he that is crazy – – – or is it? He Knows not where exactly to look, as everyone is as damaged as the ERASERHEAD-esque character that most hauntingly graces the creepy cover. Fittingly so, as their next video is to the song “Black Box,” directed by Japanese filmmaker KEISHI KONDO, and is purported to have a noir-ish, surreal visual vibe similar to that of the aforementioned film.

MICK MERCER, long-time goth/post-punk fanatic and historian himself hailed this as a classic, and that it was “easily one of the years best.” I’m not often one to fully agree with Mr. MERCER, but in this case he is correct. I can truly say it’s not quite like anything else I’ve come across before. DOUBLE EYELID is an unexpected expansion of a long-stalled, almost stuck in its own trap genre – – – a deep lungful of beautifully perfumed and noxious air.

Some of my favorite tracks: “Diamond Cutter” — A beautiful song with a consistent, relentlessly rising and falling rhythm that does indeed capture the effect of a diamond cutter slowly slicing into one’s heart and soul; “John” — A subtly heavy, gruesome tale of deathbed sorrow, regret, desperation, and loneliness; “Dead Is Better” — Proving there are worse, far more painful things than death (usually love), the heaviness not so subtle this time; There is an amazing cover of ROZZ WILLIAMS band DAUCUS KAROTA’s “The Stranger,” perhaps better than even the original *(dare I say – – – I know, blasphemy! Eh, get over it, slip this in and give a listen, you’ll hear what I mean.); and possibly (lyrically and conceptually, at the very least), “The Hanged Woman” — About that faux-soulmate of total self-absorption and psyche-vampirism, her self-made Ouroboros of a self-perpetuated shitty life that she will never take responsibility for, forever haunting every achingly lonely and dull moment she has fashioned with her own hands. It will always be “someone elses fault,” regardless of situation or circumstance.

Through and through, this album is an amazing journey through all the pains of the heart, mind, and soul, and their driving functions, circumstances, and fall-outs, without any of the hokey hullabaloo that often gives the scene its own bad name. BUY THIS ALBUM, especially if this is your preferred genre (gothic rock), or you just want to hear truly original and experimental, intelligent, danceabley dark glitter-goth-glam. If not, take a chance, it might resonate with you the right way.

 

Intravenous Mag (UK)

Toronto's Double Eyelid are an interesting blend of arty glam and dirty goth. Tapping into the Rozz Williams strain of high melodrama and fusing it with sensually dark melodies they create a decadent electro infused gothic rock that is intelligent and dance friendly. Punky guitars and bass, modern dance beats, jangling Bowie-esque piano and sinister violins are what's on offer, and it is a formula that will have a lot of people coming back for more. 

The overall sound evokes the likes of Christian Death's 'Ashes' in terms of its dramatic flair, but keeps its own identity with the modern synths cutting through the dark gothic underbelly. Songs such as 'Black Box', 'John', 'Dead Is Better', and 'The Hanged Woman' are perhaps the strongest examples of this formula. They are slow and sinister but wonderfully melodic and dramatic, giving their sound the true pomp that the classic goth/deathrock bands exuded. Though the album's highlight has to be the great cover of the Rozz Williams classic 'The Stranger', which gets a heavily electronic reworking into a strong club anthem. 

The production on the album is fairly good. The more modern synth sounds have benefited from a fresh and modern style of production that gives the songs a lot of presence. There is the odd track that doesn't quite have the same “oomph” as the others. But as an overall effort it is a well recorded and presented album. 

Double Eyelid may be an unusual blend of deathrock and electro-cabaret, but they are nonetheless effective. This is an album that you are unlikely to forget in a hurry. It is dramatic, dance-friendly and intelligent music that hints at a lot more. It will be interesting to see where they go on their next release to build on such an intriguing début. Hopefully we won't have to wait seven years to find out though.  

Mick Mercer Reviews

DOUBLE EYELID - SEVEN YEARS - stunning all-purpose dark classic!

An album so exquisite you start wondering what quisite might actually be, Double Eyelid fuse charm with a grinning griminess that it’s hard to imagine anyone not being smitten by the majority of these songs, given their variety and consummate beauty.

‘Black Box’ kicks the melodrama off wonderfully with piquant traipsing music, the rhythm mottled, the vocals achingly laboured, pools of iridescent sound rippling around a spooky tale with a sub-strata of itchy funk. ‘Diamond Cutter’ is jolly, trenchant pop sludge, and it’s no wonder Julianne Regan recently did a mash-up between this and Right Said Fred. It’s cheekily drowsy, inclined to noisy histrionics.

Stern and undulating darkly, ‘She’s Falling’ is a groaning blast with extra vocals from Jay Draper, yet ‘John’ (written by Arthur S. Green) is a saucy post-glam dawdle with a ludicrous charm, including the smartest Bowiesque use of the words ‘bowel movements’ you’ll ever hear. And these wily subtleties and alternatives keep on flowing. ‘Dead Is Better’ has a supremely cool rock guitar presence, enfolding another crushed emotional tale with ‘The Hanged Woman’ hanging gloomily in the air whiskily wispish. ‘The Quick And The Damned’ positively skips over a zigzagging lit guitar fuse, all ZZ Toptastic, with stabbing keys and vocal mania. Terrifyingly trim, that one.

‘Dirty Weather’ is scooped out and desolate, like a distant, wayward cousin of John Foxx, chilled and tremulous. ‘The Stranger’ is triumphantly urging, skittering guitar and stately vocals stretching then slumping grandly in a resounding whirlpool of energy. Like a musical séance ‘He Fell’ unnerves so very gently as it fades and leads us out.

This is an album which impresses massively upon first hearing, then builds into an essential stop on you daily journey if you’re looking for throbbiness with a fun headache and ideas stuffed into sleek sonic cushions. It has the art, the whipping liveliness and the darker atmospheres that all great records should have and it is easily one of the year’s best.

Leonard's Lair Music Reviews

Faced with the promise of “theatrical electro-rock”, there might be worrying glances cast in the direction of Canada’s Double Eyelid. However, it’s a measure of the confidence and individualism of Ian Revell’s band that the result is some frequently thrilling music and the kind of record which provides a welcome shot in the arm for new goth and cold wave music.

‘Black Box’ is a markedly different way to open up an album. Using a bedrock of fretless bass, slinky, jazzy piano and shimmering synths, Ian Revell lures in the listener with his unusual vocals which seem to be informed by the suaveness of Bryan Ferry, the sophistication of David Sylvian and the angst of The The’s Matt Johnson. That alone is quite an achievement but this opening track and many others which follow it are delivered with real class. ‘Diamond Cutter’ features Revell and co. in their most commercial-friendly form; the key being the cold, stuttering rhythms and glammy guitars, which recall French act Colder in their most infectious form. As a frontman, Revell is certainly not one to hold back. One could accuse him of being overwrought for the excellent, lurching ‘She’s Falling’ but his OTT performance is perfectly suited to the wonderful ‘John’ which moves from quiet balladry to power chords with a great deal of confidence and style.

 

A less even second half is still full of invention and personality. Moving from the horrific imagery of ‘The Hanged Woman’ (“She rolled her eyes right back”), to a sparse yet complex ‘Dirty Weather’, checking in on the escalating tension of ‘The Stranger’ and ending with the sinister sonic experiment, ‘He Fell’, there’s a refreshing energy and dynamism to these songs. Indeed, there’s never a dull moment here and the frontman is a revelation.

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.

The Independent Voice - Alternative Lifestyle Zine

Here before us we have one of the more experimental acts from the Darkwave and Gothic world. Canadian outfit Double Eyelid pride themselves on producing the darker side of electro-rock with elements of dark cabaret and surreal spoken vocals with their debut release: SEVEN YEARS.

Opening track ‘Black Box’ will remind any keen gothic rock fan of Rhombus and synthpop group Client. The mish mash of traditional gothic music with melancholic synths and bass will later develop into something like a blackened version of Roxy Music. It reads like and epic poem of lost love and melancholic pathos. ‘Diamond Cutter’ takes a more trance route and continues a theme of regret and anxiety.

Delving deeper into the gothic and darkwave world, ‘John’ details the death of a loved one in morose circumstances and will please any keen horror fans – particularly if you want to know what a hammer horror film sounds like put to music. ‘She’s Falling’ also bears a strong resemblance to Bauhaus’s ‘She’s in Parties’, which impressed me because this band genuinely know who listens to this kind of music.

Eventually we have the eeriness of ‘The Quick and the Damned’ and ‘The Hanged Woman’ which offer a morose anger at modern life. The sound descends into a more electrified version of the Sisters of Mercy. Being able to recognise so many different influences on this album certainly told me this was a winner. Here we have a band who have taken all the good things about gothic, darkwave, witch house and electro-industrial and harnessed them together to make a piece of art that will attract masses of fans looking for a new way in the electric music world.

Terra Relicta Webzine

One album, Double EyelidSeven Years, ten tracks and a countless palette of vigorous images. I have never struggled before to put down some words on an album, as with this one. Not because I would try to look for bright points in a boring album, but because this album is so extraordinary; so emotional, intelligent and thought provoking, it is incredibly difficult for me to put all the imagery and feelings I encountered with this album, down. Formed in 2009 and emerging from Canada, Double Eyelid consist of its mastermind and remarkable vocalist Ian Revell, Karl Mohr on guitar and Benjamin Mueller Heaslip behind the keyboard. Presenting the band – that’s the easy part. Now onward to the music on Seven Years. Here we go.

No, I cannot give you the genre; simply because Double Eyelid is something you have never heard before. Experimenting with death rock, electro rock, darkwave and glam rock and adding a lot of dramatic moments to the sound, is probably the easiest way to go. This album is so incredibly dense, yet so fluid, it’s almost surreal. And while I was listening to it, it got all these strange and unconnected associations; varying from musicians such as Michael JacksonChristian DeathNine Inch NailsDavid Bowie and Nina Hagen and literary works, like Bram Stoker’s gothic horror masterpiece Dracula and the absurd and avant-garde play The Bald Soprano by Eugene Ionesco. Yes, this album is everything: artsy, avant-garde, dramatic, dark, passionate, flirty, romantic, weird and so incredibly profound. The complex structure combining electronic features with pure death rock guitar driven melodies, additional piano tunes and entrancing vocals create very theatrical and romantic atmosphere, filled with pathos, despair, obnoxiousness and well - on the other side - love, romanticism and affection. Some songs are more slow-paced and almost dreadful or even vile, such as ''She’s Falling'', while others explore a more rock-on based sound, for example ''The Quick And The Dead'' or ''John''. The bass line on the opening track, ''Black Box'' seems awfully strange to me though, but I have not to this day deciphered what it reminds me of. Nonetheless, there is no sign of copying anyone or anything, don’t get me wrong, because all in all, the opening song is just as theatrical, obscure and over-the-top, while not trespassing the boundaries of disconnected distortion, as the other tracks. The pulsating sound of ''Diamond Cutter'' alongside Ian’s deeply vehement vocals create a special, sexy and intense ambient, which  reminds me of what the oozing and tense Nine Inch Nails's famous song ''Closer'' was presenting. Double Eyelid also honoured the late and legendary Rozz Williams by covering ''The Stranger'' and decided to end the album with a grandiose, darkly cliff-hanger ''He Fell''.

Seven Years will definitely be one of my top albums of this year; simply, because I consider myself an ''adventurous experimentalist'' when it comes to music, and this album simply fits to that. Imagine a painter, standing in front of a blank canvas and splattering all the different colours on it, resulting in creating a beautiful painting, which holds a very strong story behind it. That’s what Double Eyelid does - with music. The splatter becomes reality, becomes art and delivers a message; gloomy, deep, fiery and aesthetic. I am no master in psychology of art (no shit, Sherlock), but this album is an artistic composition, that will evoke a wide palette of emotions and I can only wish for this band to continue the path they are on, bringing us something fresh, unique and so highly addictive in the future.

This Is Gothic Rock

The New Millennium has come with a fascinating landscape of dark sounds; and you can listen how some visionary artists have managed to create some really unique hybrid forms of dark music. That’s the case of the Canadian project Double Eyelid. They have defined their music style as: Dark, theatrical electro-rock. And If you take a look to their Facebook page; you can see that they mention to bands like: Roxy Music, Bowie, Joy Division, Bauhaus, Sex Gang Children, amongst their influences. After reading to this description and their influences everything fits: they don't stay in a single spot in terms of a musical style, and this gives extra points to Double Eyelid because definitely they are a different band; a unique entity in the underground scene of today, and they have their own charm and their own aesthetics. Let’s do a back-track to their influences: You have the ravishing elegance of Roxy music, the permanent innovation of David Bowie, the seminal Post punk of Joy Division, and old-skull Goth at its best with Bauhaus and Sex Gang Children. As I said before they have this special talent and vision to blend all of this influences, and they have made a very interesting album. And I really like it because this one is really unpredictable. Double Eyelid is in fact, a very interesting revelation….
 
The opening song is “Black Box” it’s really atmospheric and it has some kind of Noir-Cinema mood; and the vocal performance is dramatic, and it fits really well in the atmosphere of the song. This song has suspense and sensuality; great track here. “Diamond Cutter” has the same captivating mood of the previous song, and the combination of shynths and guitars has a magnificent execution; this track is mid-tempo but really powerful. ”She’s Falling” is another mesmerizing tune with the unique dark thriller-film atmosphere created by Double Eyelid. “John” is a combination of Bowie sound with Dark Cabaret, and they have made a perfectly well-crafted song; and I have to say: Hats off! “Dead Is Better” it’s some ravishing Post Punk-Alternative hybrid: The drum machine has this rhythmic sound like if someone is snapping fingers, and it has those heavy- grinding guitar sounds and the fantastic melodic chorus, it’s terrific! “The Hanging Woman” is a fine example of how they have made this mixture of Dark-Cabaret, Alternative sound, and Post Punk with majesty. “The Quick and the Damned” Rocks really loud, this song is Rock n Roll mixed with Alternative heavy sound and Post Punk… And it’s really wild stuff: Rock on! “Dirty Weather” is totally cinematic, with a delicious combination of music styles. “The Stranger” is such a surprise: It’s the classic song by Daucus Karota; and it was done with a totally different approach, because this is totally 220 Volt Electro-sound. I remember that they have done a cover version of “Spiritual Cramp” too, and it was another unique cover version to a song by Rozz Williams. “He Fell” Is the final track, and it’s kind of an eerie outro.
 
What a unique album and what a good surprise is this band called Double Eyelid, they are innovative and they have unique vision. The combination of music styles is stunning; they have done something really awesome. “Seven Years” is an album worth to have it; check this out!

 

SOB Netzine

The first thing that comes to mind when people think about Canada is the cold, at least in central Europe. I may be completely wrong but other than the cold, I also think of a multicultural environment with an extraordinary school system and free health care (suck on that America). Last but not least, I think of style. Distinct musical style.

 

It is safe to say that for every genre/style of music, Canada has an act/group/individual who can stand right next to any famous act from the rest of the world. They also have their fair share of special acts unlike any other. That is the case with ‘Double Eyelid’. Hailing from Toronto, this four piece act brings the glam, goth and gutter as can be found on their Bandcamp page.

Their first album to date, “Seven Years” is a pearl scented, picture perfect image of the sleeping beauty scene in red velvet with all the new wave and goth rock “accessories” present. Skulls, wine, angst and attitude are the velvet bound with glam and wicked beats. The voice of Ian Revell, the bands singer, is as haunting as it is calm and in its darkest moments, the familiarity of it will be undeniable as well as unique in his own way.

Ten tracks that are on this album bring a new sound combining familiar styles and the blend of a few not so common aspects of goth rock. Back in the day when all things goth were associated with white powder faced depressed individuals with a glass of wine in one hand and a cigarette in the other are long gone and good riddance (save the wine).

This new, fresh approach of those dark and gloomy days brings just the right amount of nostalgia back from the undead without overstepping the boundaries of their listeners comfort zones.
Staying within the sound that was praised to high heavens and today somehow pushed to the margins of rock music, ‘Double Eyelid’ is reaching back into the light now occupied by musicians too eager to become the next new “old” thing and too young to understand the formula.

They have the blueprints but fail to understand them. ‘Double Eyelid’ understand oh so well. Despite the fact that this is their very first full release, the sound is mature and seasoned with all the right spices of rock and glam. The groovy guitars, the dark melodic voice, the keyboard layers, the touch of goth, they are all there and the pieces fit.

I raise a glass hoping that ‘Double Eyelid’ will find their way back into the light, not to take anyone’s place but to teach them how to read those musical blueprints and one day bring some order to a kingdom in turmoil. Hopefully it will not take them “Seven Years”.