PSALM015: In The Red Eye of the Evening, by Eamon Ivri

PSALM015: In The Red Eye of the Evening

by Eamon Ivri

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Danni Rowan This work is deeply interior while also evoking a strong sense of place. It smokes and smoulders like a twilight saunter through a familiar territory that suddenly feels unfamiliar.

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1.	given 02:17	buy track
2.	perdition 05:02	buy track
3.	glimmer and fog 04:10	buy track
4.	fountain 05:15	buy track
5.	inhabited vessel 06:54	buy track
6.	wud u 06:04	buy track
7.	wasteland trust 04:51	buy track
8.	the smoke dissipates 05:13	buy track

about

“Shaded with horror, humour and poignancy.”
The Thin Air

“A linchpin of nonconforming music in Cork”
The Guardian

Irish experimental electronic producer Eamon Ivri drops his celebrated Lighght alias for a debut release under his own name, an elegant collection of field recording-laced digital pastorals that bend and flutter through space.

Known for a uniquely fried, noise-inflected take on electronic music, Cork’s Eamon Ivri adds to his growing canon of hypnotic solo music with new album In The Red Eye of the Evening, a record that portrays strange and beguiling scenes of melting, fuzzing peace, only rarely allowed to settle into the bliss-out zones of pure ambient music. Ivri writes that this record is inspired by "spectral shades of night intermingled with twilight, car headlights illuminating a patch of wet grass, a person obscured by smoke, erased places, hypnotic, gurgle and shimmer, glimmer and fog," and though this list may appear cryptic, delving into the music of In The Red Eye of the Evening reveals Ivri’s adroit ability to coax tangible musicality from such dreamlike imagery.

The record collects somnambulant, euphoric drifts of slowly disintegrating synth melody, bubbling windchimes, snippets of heavily processed dialogue, noirish empty-street whistling, and a curious menagerie of timbral artefacts that could be sound-design, field recording, or just our imagination. It is, quite intentionally, not a soothing experience in the way of meditative ambient music, but instead a gentle, lulling passage through deceptively enrapturing sonics. In the same mould as, say, a William Burroughs cut-up, the track’s meaning and form may be obscured in its layers, but there is something infinitely human that whispers to the imagination.

credits

released April 26, 2024

Mastered by Z. Emerson
Photography by Mark Vella

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