Acclaimed songwriter Paul Eaton and producer Jim Spencer have both enjoyed commercial and critical success together and individually having worked with artists such as New Order, The Charlatans, Oasis, The Cribs and many more.
Bringing together a vast array of influences from a wide range of media it would be absurd to try and pigeon-hole DeadLoveFearWave. “We didn’t talk about inspirations at the start of the project, we both knew the idea of sounds rather than specifics, but during the process we did find inspiration in unusual places”, Citing the work of writer William S. Burroughs, lyrically narrative style of Tom Waits, the non-linear recording approach of Beck’s early work, the synthesis of 808 State, vocals of Ian Brown, guitar of Bert Jansch are just a few of the influences heard in DeadLoveFearWave’s music. “These were the inspirations, personal and political, quite an uncomfortable mix, but in the end, wholly satisfying.” say the duo.
Paul has spent ten years as both an artist and penning songs whilst Jim’s 20 year career has seen him producing, engineering and mixing records for many of the greatest artists and bands on the planet. As explained by the duo, DeadLoveFearWave is an experiment in sound. “The whole project started as a blank canvas, the aim was to treat it as a vacuous space, and let things happen and grow organically - a definite path outside the commercial objectives that process and confine.”
Paul had a ‘sketchbook’ of song, lyric and visual ideas, all written against endless loops - an attempt to create atmosphere over structure “to get away from any predefined format, eliminate any constraint”. Initially Paul was working these ideas up and developing them in context, but as the duo began working together in Jim’s Radiophonic studio at EVE in Stockport a much more collaborative process developed, with Jim performing synth and key parts, re-amplifying recorded parts, at the same time deconstructing as much as forming new patterns into the mix. The studio benefits from a whole range of vintage instruments and recording equipment, which feature heavily in the DLFW sound, not an attempt at pastiche retro but rather a way to inform the music with a sense of lost artefacts, a rough starkness that runs through its core.
From Jim’s perspective it was to look deeper and deeper into the abstract, not to fill the void but to expand it - make it greater, make the echoes louder than the shout - give in to repetition and ignore any yearning to control the sound waves, let them find their own way home.
With “Don’t Exist” the drums drive the track forward with its deep, slow groove, complementing the hypnotic guitar, piano and vocal layers to create a sound that is stirring and ravishing.”Lyrically it appears as commentary - scientific, personal, social, political, processed through segments of thoughts - stitched together into one canvas...At its most basic the concept is just an attempt at a simplification of the human condition placed within a realistic dystopia. A way to express something that is both fiction and reality.”
Expect impending updates about DeadLoveFearWave and their exciting new album.
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