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Track Listings
| 1. Dead in a Boat |
| 2. Stabbed in the Face |
| 3. Reaper's Gong |
| 4. Village Oblivia |
| 5. Urine Burn |
| 6. Rattlesnake Shake |
| 7. Burned Mind |
| 8. Ancient Delay |
| 9. Black Vomit |
Product Description
Description
What began as Nate Young's four-track noise project in a Detroit, Michigan bedroom circa 1996 became one of the most buzzed bands Sub Pop had ever fostered by 2004. Rounded out byco-conspirators Aaron Dilloway and John Olson, Wolf Eyes manipulates sound into brutal, ear-piercing tracks, making BURNED MIND more suitable for accompanying a zombie flick than a walk in the park.
Although Wolf Eyes has certainly earned the respect of the noise-rock community after years of touring and a web of self-released outings, the band's appeal to the indie-rock masses perplexes even the most prescient of music enthusiasts. Perhaps it's the cathartic violence of Wolf Eyes' live shows or the way the group pummels electronics, voices, and horns until they no longer resemble anythingmanmade. Or perhaps it's simply that most people have been sheltered from the violent sputtering noise and thumping glitches that define tracks like "Stabbed in the Face" and "Black Vomit". Wolf Eyes hasn't exactly formulated a new genre with its hybrid of industrial noise and textural deconstructionist electronics, but it has given difficult music an important new context, one less rooted in goth trappings and morefirmly rooted in punk.
What began as Nate Young's four-track noise project in a Detroit, Michigan bedroom circa 1996 became one of the most buzzed bands Sub Pop had ever fostered by 2004. Rounded out byco-conspirators Aaron Dilloway and John Olson, Wolf Eyes manipulates sound into brutal, ear-piercing tracks, making BURNED MIND more suitable for accompanying a zombie flick than a walk in the park.
Although Wolf Eyes has certainly earned the respect of the noise-rock community after years of touring and a web of self-released outings, the band's appeal to the indie-rock masses perplexes even the most prescient of music enthusiasts. Perhaps it's the cathartic violence of Wolf Eyes' live shows or the way the group pummels electronics, voices, and horns until they no longer resemble anythingmanmade. Or perhaps it's simply that most people have been sheltered from the violent sputtering noise and thumping glitches that define tracks like "Stabbed in the Face" and "Black Vomit". Wolf Eyes hasn't exactly formulated a new genre with its hybrid of industrial noise and textural deconstructionist electronics, but it has given difficult music an important new context, one less rooted in goth trappings and morefirmly rooted in punk.