"They offer experimental future folk with elements of real dirt and sweat -- and a touch of mania. Highly recommended"
– All Music Guide
For the last two decades, the Providence, RI-based Redfearn has crafted a compelling, uncategorizable sound that is wholly his own but has tendrils that reach into a stunning variety of influences both musical and otherwise. The music is centered upon Redfearn’s arcane rock sensibilities, beguiling vocals and serpentine accordion lines, which lace the music with tinges of everything from Krautrock to minimalism, alternate-universe folk tunes to psychedelic prog. Thematically, his hallucinatory lyrics hint at mind-expanding concepts from his voracious reading and adventurous experiences, with seductive insinuations.
The Opposite is the Eyesores’ long-awaited follow-up to their wonderful 2012 release Sister Death. Where that album reached toward the epic with a roster of special guests and larger instrumentation, The Opposite pares things down to the core band, with an accompanying intimacy and intensity. The sparse instrumentation is extended with the use of pedals and amplification that blend with the acoustic instruments to offer a unique, alien palette from which to draw. A stream-of-consciousness approach gives the album’s lyrics a feeling of dreamlike imagery and elusive associations.
has been the case for their last few releases, the album was recorded
by Seth Manchester at Machines With Magnets. For the first time Alec
worked with noted mastering engineer Udi Koomran at The Pergola. Both
engineers helped to insure that the final release is sonically great.
The personal and the universal, the poetic and the prosaic, esoteric
explorations and the humorous insanities of daily life – all come
together in the hypnotic and pulse-pounding songs of Alec K. Redfearn
and the Eyesores. With The Opposite, the band has created a collection
of music that is at once their most accessible and mind-expanding to
date, the sort of mystery that rewards not solving but getting lost
Seizures is one of Alec's newest projects. Basically a more compact
version of the Eyesores, it is easier for him to tour and gig with 4
musicians than 8 or 9. Of course. The group is:
The music is very much what we expect from Alec; great songs, unusual instrumentation, morbid lyrics and wonderful performances. Highly recommmended, even if I still like the bigger Eyesores more!
Seizures are the latest Alec K. Redfearn project. We are not a "pirate
band". We are not "Gypsy Punk". We are not interested in genres. There
are no guitars. All guitar-like sounds are made by the accordion and
ukulele. We've disposed of all sentimentality for this round. We're not
feeling much love these days. The world is an ugly place an it will
only get worse. We grow more disgusted and disappointed by the day.
Perversion and despair are our bread and butter. Welcome aboard." -AKR
THE SMOTHER PARTY
Alec K. Redfearn - Accordion, Distorted Accordion, Stomping, Vocals, Jawharp
All music written and arranged by Alec K. Redfearn except for 'Overhang', which was written by Alec K. Redfearn and Abigail Karp and 'Gutterhelmet Ascending', which was written by Alec K. Redfearn and Matt McLaren.
Recorded winter/spring 2005 by Keith Souza at Machines With Magnets in Providence, RI
Cover Art by Abigail Karp
EVERY MAN FOR HIMSELF AND GOD AGAINST ALL
Alec K. Redfearn: vocals, accordion, electrified/distorted accordion, handclaps, acid bass
music and arrangements by Alec K. Redfearn, except for the percussion,
which was arranged by Matt McLaren and for The Green Hat / Coccyx,
which was improvised by The Eyesores and John Jacobson using a
democratic system of parameters.
Recorded March 2003 at Sound Station Seven in Providence, RI.
BENT AT THE WAIST
Alec K. Redfearn - accordion, vocals, piano, ARP 2600
Recorded at Sound Station Seven in Providence, RI from April to July, 2000.
MAY YOU DINE ON WEEDS
BY THE PISS OF DRUNKARDS
All words and music by Alec K. Redfearn, except 4, 8, 10, 12, which are by Matthew Everett.
"[a] swirling, psychedelic, gypsy-tinged art-rock masterpiece..."
Many buzzwords have been used to describe the band’s playing and Redfearn’s composing and arranging, but they all fall short of conveying the dark beauty of the music and lyrics. Sister Death explores the mysteries of life, death, love, loss, creation and destruction, subjects that have informed Redfearn’s songwriting since the early 90s. It is their 7th album, their most widely approachable release and features striking artwork and photographs!
The group's unmistakable sound is the result of Alec's songs, which have poignant melodies and lyrics filled with doom-laden imagery. These songs are performed by a band who use unusual instrumentation (male and female vocals, accordion, double bass, French horn, organ, drums, percussion, electronics + many musical guests) in interesting and creative ways. The music touches on elements of Americana, folk, European cabaret, minimalism, noise, and progressive rock, but it ultimately transcends all categories except for 'excellence'.
spent about 6 years writing for this record. I've trashed dozens of
tunes along the way. This record is probably the most accessible of our
releases so far. I spent a lot of time obsessing over kraut-rock, space
rock and psychedelic rock in the past few years, so that influence is
bound to be felt. I've tried to move away from the Eastern
European/Gypsy sound...we've always tried to change things up as we
went. Probably the biggest change in our sound is the addition of Orion
on the Acetone Top 5 organ and vocals. These latest songs have been
built around the keyboard and accordion, but it still sounds like us.
Some things simply don't change. My melodic obsessions and
idiosyncrasies remain imbedded in the music, and I suppose they always
will be." – Alec K. Redfearn
THE BLIND SPOT
from a diverse and unfashionable set of instruments, Alec K. Redfearn
and the Eyesores are as bizarre as they appealing. This is wonderful
stuff -- brave and experimental, yet warmly human. Make room on your
folk revival shelf for something that may be influenced by folk, but is
in no way a revival." – Splended
This marvelous large ensemble from Providence, Rhode Island has been in existence for a decade now, bringing their very original music to audiences in the US and Europe. The Blind Spot is their 6th release and their second for Cuneiform and it's also surprisingly different from The Quiet Room. It includes a few shorter songs but the main focus of the album is a very ambitious work entitled "I am the Resurrection and the Light", which is a song cycle for a large ensemble featuring a number of different players: appearing are accordion, violin, viola, French horn, guitar, alto sax, bassoon, contrabass, drums, 'loops, processing and other eletronic mayhem' and layers and layers of vocals from up to 4 vocalists (Alec and 3 female voices). This song cycle is a eulogy and meditation about drug addiction and death from drug addiction and related causes. A compelling, powerful, demanding and ultimately beautiful and moving work. No one else sounds like The Eyesores and with this album, no one combines such purity of vocal and instrumental work with such a sense of impending uneasiness (and I mean this as the highest compliment!).
"...charmingly inventive" – jazzreview.com
"...a delight." – Copper Press
"The Blind Spot (is) an ambitious song cycle that incorporates choral arrangements and a soprano vocalist, lending a true requiem-like feel to this meditation on loss and addiction. Redfearn is in top form here, directing the magic collision of spiralling waltzes with the drone of a specially built hurdy-gurdy. Despite the dark theme, the music is still exquisitely pretty, with segues between songs as integral as the compositions themselves. Artful yet entirely genuine, this is the most accomplished Eyesores record to date." – Exclaim!
The Blind Spot press release
THE QUIET ROOM
Eyesores are an accordion-driven, gypsy cursed band that specialize in
funeral marches and hypno-drone trance music, among other, equally odd
things. The Eyesores are bad ass motherfuckers in an entirely new way.
Recommended." – The Noise
The Quiet Room is a little bit different and also rather special. A huge nine-piece band (accordion/vocals, guitar, French horn, violin, electronics, alto sax, string bass/vocals, drums and percussion), they combine a gigantic array of influences, such as acid folk, maverick 20th century Americana (Tom Waits, Charles Ives, John Cage, Harry Partch), Eastern European folk music, noise/drone rock, cyclical minimalism (Terry Riley, Philip Glass), cabaret and theater music and more. To my ears, this band is simultaneously drawing from the 'primitive' and 'avant-garde' esthetic, and blending together this huge range of styles into a distinctive, wholely charming sound; at any given moment, you can't tell if you will be hearing the influences of 1920's Appalachia, as filtered through a modern rock band, or post math-rock rendered by acoustic instruments. There are not a lot of vocals, but what vocals there are are nicely sung and feature a wry wit. Always evolving and ever elusive, The Eyesores have consistently left their audiences equally enthralled and confused; the tradition continues here! A quiet stunner!
"This massive musical untaking is a complex mix of psychedelic folk, prog rock, old-time, acid cabaret, dark circus music, and sinister dream fragments that haunt in recurring motifs." – Dream
The Quiet Room press release