"The 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
"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."
This one 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!
I had known Alec slightly for a very long time (one of his early bands also included the man who introduced me to my wife) and when he was playing DC in 2003 or 2004, he contacted me and told me about the show.
I had never really heard the Eyesores, but yeah, I was interested. I’m a good sport! Unfortunately the club they were playing at (the late, great Velvet Lounge) was where all the upcoming and hip bands played, but it was also known for very late starts and shows going until 2 am. Hard on this working boy on a Tuesday night, even in my 40s.
So I told Alec I would like to go but could he possibly make certain that the Eyesores weren't on last? His reply? "If you're coming, I will be sure that we don't play last; it will be nice to have someone in the audience this time!"
I went and they played and there were 9 people on stage and 3 people, including me, in the audience. And they were magnificent.
After a few conversations with myself about art and commerce, art won and we signed them. And they remain magnificent!
- Steve Feigenbaum
released January 25, 2005
Alec K. Redfearn : amplified and non-amplified accordion, vocals, Hammond B3 organ, jaw harps, alarm clark, paper cutter, telephone, piano, bowed cymbals
Margie Wienk : string bass, vocals
Alec Thibodeau : guitar
Ann Schattle : French horn
Olivia Geiger : violin
Matt McLaren : drum kit, hand cymbals
Chris Saraullo : floor tom, glockenspiel, cowbell, bells, maracas, tambourine
Jason McGill : alto sax, brake drums, pots and pans
Frank Difficult : analog and digital electronics, handheld tape recorder
Sara Stalnaker : cello on 4, 15
Matt Everett : viola on 4
All music and lyrics by Alec K. Redfearn except for 3, text by Christine Evans.
supported by 22 fans who also own “The Quiet Room”
Mary Halvorson is a genius composer and guitarist who has developed her own musical language, and with Code Girl she has incorporated poetry into that language. Incredible compositions and lyricism (each track is a different kind of poem). Halvorson's playing is as great as usual, and all the other members of the band sound great. Robert Wyatt's singing in particular works extremely well in the tracks he's featured. Highly, highly recommend. rat