Image of Sore Eros - S/T (2xLP) Feeding Tube Records 5 LEFT

Sore Eros - S/T (2xLP) Feeding Tube Records 5 LEFT

£21.00



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After five long years of waiting, rural psych masters, Sore Eros, return with an extended statement of purpose. Although their partial spatial dislocation from Western Mass has seemly rendered them a studio-oriented outfit, the lovely tangles of sound they create are as optimally fried as ever. The album was helmed by engineer/producer Adam Granduciel (War on Drugs) who was the only one capable of coaxing the whole band into the studio. Aided by players like Daniel Oxenberg (ex-Supreme Dicks) and Kurt Vile (ex-Nest of Saws), the music on Sore Eros was recorded between Philly and L.A., and seems to owe some its creative modeling to those cities as well. Indeed, the side-long ending track, 'Mirror,' feels like it's equally indebted to left-coast canyon-hugging surf-pop and cheese steak-powered garage-volk readymades. The rest of the album is just as sizzling. The tunes move between large-scale rock moves with Deadly intent and strangely-drifting pop aktion that gets close to Bobb Trimble's version of otherness. The overall heft is more woodsy than beachy, but maybe I'm just saying that 'cause I'm listening to the thing in the middle of a forest. Pressed at 45 RPM for extra high fidelity, packed up with a poster insert you can throw darts at (just like an earlier generation threw darts at the insert from the first Silver Apples LP), the theoretical swan song of Sore Eros is all a head could hope for. And then some." --Byron Coley

"Long a favorite around here, Sore Eros is back with a sprawling new LP for Feeding Tube. The band has become a bit more spread out of late, which accounts for the five-year span between their last outing and this eponymous opus. Robert Robinson and co. start things off with the sunrise swells of “Backseat Bop,” a swooning, jubilant slice of pop that starts off slow and serene before exploding into a cascade of pop colors. Sore Eros has often captured a certain homespun psychedelic pop feel that warbles with a tender fragility, and that feeling is on prime display here. The song’s trepidation burns off, though, around the halfway mark, blowing out the walls of the bedroom in exchange for a widescreen, all-hands-on opener to their new album. The LP is out January 10th and features contributions from longtime compatriots Daniel Oxenberg (Supreme Dicks) and Kurt Vile. Good to have the band back in our arms again." Raven Sings The Blues