THE EDITED PRESS RELEASE: “Eyelids’ new album, A Colossal Waste Of Light, does an excellent job of framing the quintet as one of today’s most compelling purveyors of lopsided guitar-pop workouts and earworm-laden vocal melodies. It also proves that great guitar pop can still evoke favorites from a glorious past — the penetrating moodiness of XTC’s Black Sea and R.E.M.’s Fables Of The Reconstruction come to mind — while refusing to waste time on idle nostalgia.
On their fourth full-length (but 17th offering if you include previous 7”s and EPs) the Portland, Oregon band also rediscover the beauty of firsts. A Colossal Waste Of Light marks the first time the band wrote songs remotely (“it ended up being fun and weird to send out a very simple version of a song and see who came back first with another part for it”, John Moen recalls), their first reunion at the Destination: Universe studio post-isolation, and their first batch of melodious new tunes since The Accidental Falls, the band’s 2020 project with poet, lyricist and Tim Buckley collaborator Larry Beckett (an extraordinary pairing that allowed Eyelids’ two frontmen, Chris Slusarenko and Moen, to find a new, multilayered appreciation for the art of songcraft).
Most importantly, A Colossal Waste Of Light is the first Eyelids album to feature new bass player Victor Krummenacher (Camper Van Beethoven, Monks of Doom). Eyelids shared bills with Krummenacher a few times before he moved to Portland, but once he arrived he quickly found himself in a new town where everything was suddenly locked down. Luckily enough, there were eventual get-togethers in Slusarenko’s backyard and, finally one day, a most coveted question: “Do you want me to play bass for your band?” The artistry he brings to A Colossal Waste Of Light is seasoned and fresh in equal measure. Alongside Jonathan Drews’ expressive yet mysteriously ethereal guitar playing and Paulie Pulvirenti’s imaginative and powerful drumming, the finished LP is the perfect summation of Eyelids’ new and old ways of collaborating together.
As for the record’s title, Slusarenko notes that it conjures “the parallel lines of dearly holding onto some sort of version of hope, all the while knowing everything’s going to shit.” With all the feel of a lost late ’70s classic, A Colossal Waste Of Light sounds both majestic and playfully open to multifaceted meanings and moods. It’s haunted and vibrant all at once, while putting some kicks back towards melancholy. Every track feels like its own journey and having songs from two songwriters at the top of their game makes for a most dynamic, immersive narrative as their songs follow one another throughout. As a whole, it’s thrilling, moving, mercurial, absorbing, soothing, and unmistakably Eyelids.”
