Return To The Big Eyes

by Cooperblack

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1.
04:22
Nothing more than some casual interference Nothing more than some normal otherness If I could be with someone else If I could be like someone else Nothing more than some casual interference Will you wait for me to come down Will you wait for me to come down
2.
03:35
3.
Verse Lyrics by elmstonchrist (Kristen Elms)
4.
I should have seen this coming from a hundred miles away I should have seen this coming from 300 days away In the corner is a boy paralysed with a blank look on his face Another corner was a girl realised that this is not her place Make or break us, break or make us This will make or break us (from a hundred miles away, from a hundred miles away) Make or break us, break or make us This will make or break us From a hundred miles away From a hundred miles away Make or break us, break or make us This will make or break us From a 300 days away, From a 300 days away We shifted place to red dust face The plan was set To make or break us Happy families we felt the truth In text and talk Truth in walk and heart To make or break us I should have seen this coming from a hundred miles away I should have seen this coming from 300 days away
5.
I've worked out a way Thanks for asking Thanks for asking

about

"wracked with melancholy, steeped in desert dusk and yearning for the urban resonance it's throbbing basslines were conceived in"

"lovely lilting vocals, whispering regrets over snappy drums and super synth leads"

"3-point turn is fuzzy down step, milking massive noisy pads and a familiar pingy snare... elmstonchrists rap floats through the rhythm, a line of smoke leading back to the campfire" J.Tomes


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In a home studio in one of the most remote places on the planet, Jeremy Conlon is busy bringing to life his latest incarnation of Cooperblack. He lives (with his synths and drum machines) in a small indigenous community in the Central Australian desert called Yuendumu, four hours drive north- east of Alice Springs.

Return to The Big Eyes is his first release in a few years, and sees him back in the Northern Territory, his adopted home. Heavy on the synths, crushed drums, pop hooks and falsetto, the EP is five tracks of desert electro-pop, if that’s even a thing.

Return To The Big Eyes is also the sound of Cooperblack coming full circle, returning to electronic music after mutating into a warped, four-piece motorik rock band for their previous album, My Art Is Bleeding.

Written in isolation, this new EP is just Jeremy, his drum machines and synths in a makeshift studio way out in the middle of nowhere. Add into the mix a broken heart, being away from friends and family and you have a perfect recipe for a bunch of melancholic, yet somehow upbeat, electro-pop gems.

The first single, I Assume, features a clay-animation film clip by Melbourne based artist Alex Machin, and the track 3 Point Turn features a guest appearance from stream-of-consciousness female MC elmstonchrist, digitally delivered across the Australian outback, from Darwin to Yuendumu.

Return To The Big Eyes in the sixth release distributed on ZZAAPP Records, an independent record label from Arnhem Land, NT, Australia focusing on underground electronic music from out-of-the-way places.

credits

released November 30, 2015

Produced by Jeremy Conlon
Mastered by Jeremy Conlon and Kris keogh
All music and lyrics by Jeremy Conlon apart from 3 Point Turn - lyrics by Kristen Elms (elmstonchrist)
Cover art by Kris keogh

I Assume film clip by Alex Machin

www.youtube.com/watch?v=ksKBTI0_wWY

This release is also available through ZZAAPP Records.

zzaapp.bandcamp.com


Special thanks to
Kris, Alex, Lauren, Kristen, PAW Media, Megan, Oliver, Simon and Martin.

Cooperblack acknowledges the Warlpiri people as the traditional and prevailing custodians of the lands on which this music was created.

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about

Cooperblack Alice Springs, Australia

Australian composer, DJ and electronic artist JEREMY CONLON aka Cooperblack releases ‘The Degradation Suite’, a six-track meditation on ‘the end of the world’.

Cooperblack acknowledges the Arrernte people as the traditional and prevailing custodians of the lands on which this music was created.
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