Frog Eyes

Three years in the making, Paul's Tomb: A Triumph marks Frog Eyes' thunderous, frantic, fiery return. This is a slow-brewed masterpiece that is unmistakably Frog Eyes, a new album that was very much worth the wait. On this point we feel unassailable: Frog Eyes keeps getting better and better. This is an album with weight. It's wrapped in a gauze of fuzz, but a fuzz that's neither yesteryear nor painfully now. Paul's Tomb: A Triumph is neither overly modern nor awkwardly vintage, and it contains a depth and bombast that's not only noticeably absent in Frog Eyes' previous work, it's absent from most contemporary music. Frog Eyes are equally informed by Scott Walker and Roxy Music, Nuggets collections and the Everly Brothers. But in truth, Frog Eyes' recordings sound like nothing else but Frog Eyes. In the past the band has lived in a no-man's-land reserved for musical anomalies, making music championed by discerning critics and discerning artists (fans of Mercer's songwriting have included, at one time or another, John Darnielle, Spencer Krug, Dan Bejar, Jonathan Meiburg, and Carl Newman, to name a few). With due respect to the above, the scope and vision of Paul's Tomb: A Triumph is triumphant because it busts so thoroughly out of the ghetto of the clever. It gets there, in part, because all of the basic tracks on Paul's Tomb: A Triumph, including many of the vocals, were recorded live off the floor, and this approach has captured a rawness, a punk rock spirit too often smothered by Pro Tools. Singer/guitarist Carey Mercer's instantly recognizable howl is ever-present, soaring above the frenetic beats of drummer Melanie Campbell. Paul's Tomb: A Triumph is in the canon of "two-guitar" records: the majestic shredding between Mercer and Ryan Beattie recalls everything from Neil Young/Danny Whitten's work on early Young recordings to Tom Verlaine and even, occasionally, Hendrix. The synths weave in and out of this buzzing wall of sound, and new Frog Eyes member Megan Boddy's sweet backing vocals are a kind foil for Mercer's wail. Mercer's lyrics are a continuing refinement of warnings and prophecies, threats and terrors, and what he calls "contrapuntal sharp blasts of hope." As Carl Wilson of Pitchfork put it in his [glowing] review of their 2007 album Tears of the Valedictorian, "[Frontman Carey] Mercer stands in the lineage of rock frontman as half-carnival-barker, half-gnostic-preacher that Greil Marcus describes as the 'crank prophet,' from Screamin' Jay Hawkins through Arthur Lee of Love, Captain Beefheart, David Thomas of Pere Ubu, Tom Waits, and the Pixies' Frank Black." Paul's Tomb: A Triumph is Mercer--and Frog Eyes--at their most powerful and self-assured.

Frog Eyes Announce North American Tour, Share New MP3 from Paul’s Tomb: A Triumph

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The blistering collection of songs found on FROG EYES’ forthcoming Dead Oceans debut, Paul’s Tomb: A Triumph, practically beg to be heard in a live setting, where Carey Mercer and bandmates perfectly reenact their many fiery moods and tensions on stage. Anyone who has witnessed the electric fury of a Frog Eyes live show knows the tumult that awaits them. Frog Eyes will be bringing their live cacophony to clubs throughout North America this May and June. Mark your calendars.

Paul’s Tomb was recorded almost entirely live to tape, with the guitars stabbing and shimmering, and Mercer coming on strong, like a crazed, guttural Van Morrison, playing with cadence and syllables at every turn. It’s heavy, raw, literate, otherworldy and in the end, utterly compelling. The more you give of yourself to Paul’s Tomb: A Triumph, the more you get lost in its gnarled world.

In a Spinner interview, Mercer called Paul’s Tomb “luminal,” when describing the out-of-time sound the band hoped to capture: “‘I don’t know if we ever verbalized it, but what we wanted to do was make a record that was neither yesteryear nor that super-hip Brooklyn sound,’ the singer-guitarist tells Spinner. ‘I’ve always been attracted to the idea of liminal space and this record fits with it; sonically it’s hard to pin down what era it’s from.’”

True enough, and what Mercer does not say can be read between the lines. Paul’s Tomb: A Triumph is a timeless victory.

For further proof of this achievement, the band is happy to share with you another magnificent cut from Paul’s Tomb: A Triumph, “Lear in Love.” Download it HERE.

Paul’s Tomb: A Triumph will be released on April 27th (26th in the UK). Over the course of the North American blitzkrieg, Frog Eyes will be joined by contemporaries like Plants and Animals, Mt. St. Helens Vietnam Band, Pearly Gate Music and Beach Fossils. See the full list of dates HERE.

Dead Oceans Teams With FROG EYES For New LP, Shares Album Cut “A Flower in a Glove”

There are more than a few of us here at Dead Oceans who have been closely watching the career of FROG EYES since their first album surfaced many moons ago. We have been admirers and collectors of all things Frog Eyes for years, so when the opportunity to release their new album was presented to us, we did not hesitate. We are beyond pleased to be working with one of the finest, most dynamic bands making music today. And on April 27th we will be releasing Frog Eyes’ crowning achievement.

Three years in the making, Paul’s Tomb: A Triumph marks Frog Eyes’ thunderous, frantic, fiery return. This is a slow-brewed masterpiece that is unmistakably Frog Eyes, a new album that was very much worth the wait. On this point we feel unassailable: Frog Eyes keeps getting better and better.

This is an album with weight. It’s wrapped in a gauze of fuzz, but a fuzz that’s neither yesteryear nor painfully now. Paul’s Tomb: A Triumph is neither overly modern nor awkwardly vintage, and it contains a depth and bombast that’s not only absent in Frog Eyes’ previous work, it’s absent from most contemporary music. Read more about Paul’s Tomb: A Triumph HERE.

We are pleased to share the mammoth opener from Paul’s Tomb: A Triumph. “A Flower in a Glove” encapsulates everything we love about Frog Eyes in just over nine minutes – an epic beginning to a monstrous album. Listen to “A Flower in a Glove” HERE.

Booking Agent Contact

US
Ryan Craven
Windish Agency
e: ryan@windishagency.com
p: (773) 489-3500


Europe:
Christian Morin
Headquarter Entertainment
Rosenthaler Str. 3
10119 Berlin
Germany
Tel : 49/30/28598248
Christian@headquarter-entertainment.de
www.headquarter-entertainment.de

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Lear in Love by Frog Eyes

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The Sensitive Girls
by Frog Eyes

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