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CD
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IDA 119CD
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There was a time when The Third Eye Foundation was the mirror of the world from which the group drew its substance. But the reflection faded and dirt accumulated so it only provided deformed images and gradually became the world's shadow. This willingness to look at and express images and words about humans and their environment has since been embodied in the completely open face of its founder, Matt Elliott. Thus, The Third Eye Foundation is a discrete entity, the opposite of what Matt Elliott may otherwise represent. In 2010, The Dark (IDA 071CD) already portrayed this state of affairs. Today, Wake The Dead is banging the last nails into the boards that make up the barricades. Wake The Dead is like a key which attempts to open the doors of memory. Waking the dead is not a question of meaning but rather of sensations. Free will and free thought have no place here -- in the universe of The Third Eye Foundation, humans are no more than a simple product of their environment. This may seem extremely violent and dehumanizing but it is not the case at all. You need to get rid of your certainties, empty yourself, and put yourself on the same level as those considered to be "the other". And that's probably the greatest quality of an album like Wake The Dead. Its abstract compositions are without a format and thus implicitly participate in the deconstruction of the imaginary, of all logical forms which we sometimes cling to without even knowing why. It offers something essential in its unpredictable approach: the possibility of letting go without this ever being judged as an admission of weakness. In a way, Wake The Dead is an album without a beginning or an end. Its melodic variations instill themselves without the listener realizing, and then progressively changes the listener's perception of the work. The 40 minutes of throbbing, hypersensitive dubstep that make up the record are not aimed at sending a message to the mind; The intention is to make souls dance and to unite them. Personnel: Matt Elliott - all instruments, vocals; David Chalmin - additional keyboards, vocals, drum machine, manipulations, effects; Raphaël Séguinier - drums; Gaspar Claus - cello. CD version comes in a digisleeve.
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LP
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IDA 119LP
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LP version. Includes download card. There was a time when The Third Eye Foundation was the mirror of the world from which the group drew its substance. But the reflection faded and dirt accumulated so it only provided deformed images and gradually became the world's shadow. This willingness to look at and express images and words about humans and their environment has since been embodied in the completely open face of its founder, Matt Elliott. Thus, The Third Eye Foundation is a discrete entity, the opposite of what Matt Elliott may otherwise represent. In 2010, The Dark (IDA 071CD) already portrayed this state of affairs. Today, Wake The Dead is banging the last nails into the boards that make up the barricades. Wake The Dead is like a key which attempts to open the doors of memory. Waking the dead is not a question of meaning but rather of sensations. Free will and free thought have no place here -- in the universe of The Third Eye Foundation, humans are no more than a simple product of their environment. This may seem extremely violent and dehumanizing but it is not the case at all. You need to get rid of your certainties, empty yourself, and put yourself on the same level as those considered to be "the other". And that's probably the greatest quality of an album like Wake The Dead. Its abstract compositions are without a format and thus implicitly participate in the deconstruction of the imaginary, of all logical forms which we sometimes cling to without even knowing why. It offers something essential in its unpredictable approach: the possibility of letting go without this ever being judged as an admission of weakness. In a way, Wake The Dead is an album without a beginning or an end. Its melodic variations instill themselves without the listener realizing, and then progressively changes the listener's perception of the work. The 40 minutes of throbbing, hypersensitive dubstep that make up the record are not aimed at sending a message to the mind; The intention is to make souls dance and to unite them. Personnel: Matt Elliott - all instruments, vocals; David Chalmin - additional keyboards, vocals, drum machine, manipulations, effects; Raphaël Séguinier - drums; Gaspar Claus - cello.
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2CD
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IDA 111CD
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On the occasion of the 2016 20th anniversary of The Third Eye Foundation's 1996 debut album Semtex, one of the most influential drum and bass albums of its time, it is worth revisiting the career of Matt Elliott, its composer. Elliott was not even 16 when he decided to stop his studies and devote himself to his passion for music. He got a job at the famous Revolver Records in Bristol (profiled in Richard King's 2015 book Original Rockers, which explains how the shop influenced the spread of indie music and especially trip hop) and began DJing in Bristol clubs, though he wasn't old enough to be there legally. Beginning as The Third Eye in 1993, he appeared on albums by Movietone and Flying Saucer Attack and started his own band, Linda's Strange Vacation, with Kate Wright and Rachel Brook; he also used the band's name for his micro-label, on which he released the first songs from The Third Eye Foundation. In 1995, Elliott was one of the very few artists involved in the tribute album for the famous US krautrock duo Silver Apples, Electronics Evocations. He was then invited to open for them on their US reunion tour. By the age of 20, Elliott had already been involved in nearly every area of the music industry. But the story was only just beginning. In 1996, he finally released his first album as The Third Eye Foundation, Semtex, on his own label, with support from Domino (the beginning of a longstanding collaboration). Recorded in a squat Elliott shared with Matt Jones from Crescent on a four-track recorder borrowed from Dave Pearce from Flying Saucer Attack and mixed with headphones at excessive volume (resulting in permanent hearing loss at around three kHz), Semtex is brutal and uncompromising. Featuring a mix of noisy, ripped-up guitars and hectic drum machines, with Debbie Parsons's vocals on some songs, it is the antithesis of electronic dancefloor music. It branded its style into Elliott's discography, in which social unrest, loneliness, political confusion, anger, and anti-establishment feelings are regular themes. This deluxe 20th-anniversary reissue includes eight previously unreleased tracks, mostly recorded on cassettes between 1991 and 1997 and all remastered by Anders Peterson. This expanded document testifies to the corrosive never-say-die attitude of The Third Eye Foundation. Play very loud (bearing in mind the risk of ending up completely shattered by music of such rare scope and scale).
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2LP
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IDA 111LP
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Double LP version. On the occasion of the 2016 20th anniversary of The Third Eye Foundation's 1996 debut album Semtex, one of the most influential drum and bass albums of its time, it is worth revisiting the career of Matt Elliott, its composer. Elliott was not even 16 when he decided to stop his studies and devote himself to his passion for music. He got a job at the famous Revolver Records in Bristol (profiled in Richard King's 2015 book Original Rockers, which explains how the shop influenced the spread of indie music and especially trip hop) and began DJing in Bristol clubs, though he wasn't old enough to be there legally. Beginning as The Third Eye in 1993, he appeared on albums by Movietone and Flying Saucer Attack and started his own band, Linda's Strange Vacation, with Kate Wright and Rachel Brook; he also used the band's name for his micro-label, on which he released the first songs from The Third Eye Foundation. In 1995, Elliott was one of the very few artists involved in the tribute album for the famous US krautrock duo Silver Apples, Electronics Evocations. He was then invited to open for them on their US reunion tour. By the age of 20, Elliott had already been involved in nearly every area of the music industry. But the story was only just beginning. In 1996, he finally released his first album as The Third Eye Foundation, Semtex, on his own label, with support from Domino (the beginning of a longstanding collaboration). Recorded in a squat Elliott shared with Matt Jones from Crescent on a four-track recorder borrowed from Dave Pearce from Flying Saucer Attack and mixed with headphones at excessive volume (resulting in permanent hearing loss at around three kHz), Semtex is brutal and uncompromising. Featuring a mix of noisy, ripped-up guitars and hectic drum machines, with Debbie Parsons's vocals on some songs, it is the antithesis of electronic dancefloor music. It branded its style into Elliott's discography, in which social unrest, loneliness, political confusion, anger, and anti-establishment feelings are regular themes. This deluxe 20th-anniversary reissue includes eight previously unreleased tracks, mostly recorded on cassettes between 1991 and 1997 and all remastered by Anders Peterson. This expanded document testifies to the corrosive never-say-die attitude of The Third Eye Foundation. Play very loud (bearing in mind the risk of ending up completely shattered by music of such rare scope and scale).
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CD
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IDA 071CD
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2010 release. The Dark sees Matt Elliott return to his Third Eye Foundation moniker for the first time since 2000, proving once and for all the project's inimitable style. "Finds [Elliott] playing again to what I think are his strengths: slow, somewhat classical melodies overlaid with ebbing waves of noise and complex drum patterns often indebted to drum'n'bass. On The Dark, another of Third Eye's finest tricks -- a backdrop of banshee howls -- makes a welcome return. This time, though, Elliott intersperses frenzied and skittering drum'n'bass passages with sprung beats that betray a predictable interest in the dystopian possibilities of dubstep (or darkstep, I suppose). The scale of the operation, too, has increased. The Dark has five tracks, not all of them easy to name, thanks to the spidery handwriting on the sleeve. In effect, though, this is one epic piece of music in five movements. . . . by the finale -- titled, in a vintage Elliott provocation, 'If You Treat Us All Like Terrorists We Will Become Terrorists' -- the beats have gone haywire and the noise has become obliterating. Exhilarating, too." --John Mulvey, UNCUT, September 24, 2010
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CD
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WIG 091CD
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2001 release, limited stock. "Matt Elliott, aka Third Eye Foundation, has a colorful past in the Bristol music scene, but it's for his colorful musical present that we celebrate him here. Matt has been working on this remix project for around a year, and he has put together a stellar cast of contemporary remixers and scenesters. As Third Eye Foundation, he has remixed a selection of his favorite artists and has come up with a refreshingly different take on the remix format. Kitty-Yo favorites Tarwater, Leeds' The Remote Viewer, UK comic genius Chris Morris, and NYC's Blonde Redhead all have tracks battered and bruised, then nursed back to full technicolor splendor by Third Eye Foundation arkestra. These remixes are all new and exclusive." Other remixers: Yann Tiersen, Urchin, Faultline.
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CD
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RUG 102CD
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Three track EP from Bristol's Matt Elliott. Features "What Is It With You", "Are You Still A Cliché (With Troubled Mind), "What Is It With You (Remote Viewer Remix)".
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