After so many lengthy waits, we’re happy to announce the release of the new album by Marine Dreams, Corner of the Eye on September 24th, 2013. 10 killer tracks on 180 gram vinyl and digital formats, acoustic guitars, sweet bass.
We can’t wait for you to hear this one, so give a listen to the track “Roots Come After Lengthy Waits” to catch a glimpse:
Here’s the official line, straight out of the marketing department:
On Marine Dreams’s self titled debut, Ian Kehoe‘s poetic lyrics and guitar driven production stayed close to his roots in rock and roll and punk music. Now comes Corner of the Eye, a dreamy, unforced exploration of a musical world of its own invention.
Made quickly in a basement in Welland, ON, with Daniel Romano at the helm and Ross Miller, Ian Romano, and Tamara Lindeman on hand, songs were begun and finished in just a few hours. Passing a book of Henri Rousseau’s paintings around the control room, naive depictions of imaginary lions and jungle blossoms, the friends turned away from drum fills, cymbals, electric guitars. Rather, three part harmony, drum machines, and acrobatic bass create an idiosyncratic sound. Flashes of Lee Perry and Jeff Lynne era Petty. A joyful, complex sense of melody. A surprising focus on groove and rhythm. Kehoe’s lyrics, at first glance dreamy, reveal themselves on repeat listens to contain surprising complexity. The internal is the literal on the this record, love as a force, a thing that ‘goes by, confident in it’s crazy pride.’ Emotion conflates reality. “It’s the corner of the eye that can see the human lines’ sings Kehoe, and the line is fitting. This is a record, and a songwriter, that exist themselves on the margins, looking out.
Pressed on 180 gram vinyl replete with a fin de siecle silhouette of a dancing woman and a prose depiction of an elephant hiding in a cherry tree, Corner Of The Eye is unusual, certainly, but irrepressible. A record for the ages, or for some other age, perhaps, one that never actually existed, some time lost between the unfettered poeticism of the twenties and the musical confidence of the sixties. Or perhaps it is a record only for this age, an act of sincerity by Ian Kehoe, throwing out massive choruses and three key change endings while singing quietly of the state of his soul, the complications of his love, of damp eyes and streets wet with the tears of strangers.
