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Product details
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Track Listings
| 1. I've Lost That Loving Feline |
| 2. What Is It With You |
| 3. Stone Cold Said So |
| 4. Half A Tiger |
| 5. Lost |
| 6. Are You Still A Cliche |
| 7. Goddamit You've Got To Be Kind |
Product Description
Amazon.co.uk Review
Little Lost Soul brims with electronic eccentricity, operatic weirdness and quirky, left of centre drum and bass and is a confused and disturbed piece of work. It is also paradoxically calm. The LP's character is a result of the collision of both. The wayward "Half A Tiger" exemplifies this approach admirably, the half speed dub, swirling FX and irreverent choral chants change gear suddenly and it's all frenetic drums and sinister orchestral manoeuvres. The beatbox, drum and bass of "Goddammit You've Got To Be Kind" highlights the precisely programmed edge of Matt Elliot, the only member of The Third Eye Foundation. The shimmering atmospherics of ten minute epic, "Lost", the syncopated warbling of "What Is It With You" emphasise the haunting undercurrent found in each of the seven tracks. This is an album that is propelled by a sense of nervous energy as this Little Lost Soul ensures you never rest easily or encounter the problem of complacency on your listening way--two valuable attributes that this music exudes.--Found Sounds
CD Description
Treading far less aggressive and dark ground than YOU GUYS KILL ME, this album is still cut from similarly lo-fi gothiccloth. "What Is It With You" overlays several vocal lines building upon one another until a burst of drum 'n' bass trills brings it to a grinding halt. "Lost" has a lovely repeated guitar passage that's punctuated by soft piano chords and a beautiful female vocal. The largely acoustic arrangement evolves over 11 minutes attaining a wonderful psychedelic haze. The album closes with "Goddamit You've Got To Be Kind", aquiet haunting trip-hop number with an overlying string motif that simply falls into diminuendo as the breath leaves the pipes.
It would seem a paradoxical combination, the harshest of rhythmic styles and the most beautiful of melodies,but in its own way, it's very primal. Matt Elliott's collage technique is quite organic, unlike Hal Willner or Moby, whose albums are more episodic. Elliott uses a selective palette of themes and creates the songs seemingly as artists put paint on canvas. The choral samples echo previous work, but here the mood is more soulful, accessible and hypnotic, though not without drama. "I wanted to make a beautiful record",says Elliott, "something to melt hearts".
Little Lost Soul brims with electronic eccentricity, operatic weirdness and quirky, left of centre drum and bass and is a confused and disturbed piece of work. It is also paradoxically calm. The LP's character is a result of the collision of both. The wayward "Half A Tiger" exemplifies this approach admirably, the half speed dub, swirling FX and irreverent choral chants change gear suddenly and it's all frenetic drums and sinister orchestral manoeuvres. The beatbox, drum and bass of "Goddammit You've Got To Be Kind" highlights the precisely programmed edge of Matt Elliot, the only member of The Third Eye Foundation. The shimmering atmospherics of ten minute epic, "Lost", the syncopated warbling of "What Is It With You" emphasise the haunting undercurrent found in each of the seven tracks. This is an album that is propelled by a sense of nervous energy as this Little Lost Soul ensures you never rest easily or encounter the problem of complacency on your listening way--two valuable attributes that this music exudes.--Found Sounds
CD Description
Treading far less aggressive and dark ground than YOU GUYS KILL ME, this album is still cut from similarly lo-fi gothiccloth. "What Is It With You" overlays several vocal lines building upon one another until a burst of drum 'n' bass trills brings it to a grinding halt. "Lost" has a lovely repeated guitar passage that's punctuated by soft piano chords and a beautiful female vocal. The largely acoustic arrangement evolves over 11 minutes attaining a wonderful psychedelic haze. The album closes with "Goddamit You've Got To Be Kind", aquiet haunting trip-hop number with an overlying string motif that simply falls into diminuendo as the breath leaves the pipes.
It would seem a paradoxical combination, the harshest of rhythmic styles and the most beautiful of melodies,but in its own way, it's very primal. Matt Elliott's collage technique is quite organic, unlike Hal Willner or Moby, whose albums are more episodic. Elliott uses a selective palette of themes and creates the songs seemingly as artists put paint on canvas. The choral samples echo previous work, but here the mood is more soulful, accessible and hypnotic, though not without drama. "I wanted to make a beautiful record",says Elliott, "something to melt hearts".
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