Post-industrial pioneers and mutators Graham Lewis (Wire, Dome, He Said) & Mark Spybey (Zoviet France, Altered Statesmen) forge a singular sound ID from field recordings and electronics roughly hewn into half-cut grooves prone to go where the wind takes them...
Lewis Spybey was conceived as a duo project after the pair met on a podcast hosted by cEvin Key ov Skinny Puppy in 2022. Geordie Spybey, in the spirit of “shy bairns get nowt” suggested they collaborate, and the project evolved remotely between respective bases in NE England and Sweden, both bringing a combined near-century of experience and countless collaborations with the best of their epochs to the table in ways that only hint at their former projects, transcending generic brackets to converge on a sort of gritty kosmische trance noise with plenty of sand and grit in the gears.
Beginning crudely tethered to new wave pop impulses in an almost club-regulated groove peppered with Lewis’ schizoid voices and Chinese flute melodies on ‘Castle Neptune’, the album sprawls out along the scratchy motorik rhythms and Z*F-type textural layers of ‘Boot Island Twin’ into pockets of doom nourish atonality with ‘Antler Velvet’, and the pounding ’Trophy Hunters’, to even the keel somewhere vaguely closer to Wire via Suicide in the opening of ‘Keep the Way’, which soon enough morphs into a glorious harmonic swell, and calves off into the ‘Gray Bay Play Watch’ churn of North Sea brownian silt slosh threaded with submerged voices and just-about congealing into a sort of clanking horror score groove.
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Post-industrial pioneers and mutators Graham Lewis (Wire, Dome, He Said) & Mark Spybey (Zoviet France, Altered Statesmen) forge a singular sound ID from field recordings and electronics roughly hewn into half-cut grooves prone to go where the wind takes them...
Lewis Spybey was conceived as a duo project after the pair met on a podcast hosted by cEvin Key ov Skinny Puppy in 2022. Geordie Spybey, in the spirit of “shy bairns get nowt” suggested they collaborate, and the project evolved remotely between respective bases in NE England and Sweden, both bringing a combined near-century of experience and countless collaborations with the best of their epochs to the table in ways that only hint at their former projects, transcending generic brackets to converge on a sort of gritty kosmische trance noise with plenty of sand and grit in the gears.
Beginning crudely tethered to new wave pop impulses in an almost club-regulated groove peppered with Lewis’ schizoid voices and Chinese flute melodies on ‘Castle Neptune’, the album sprawls out along the scratchy motorik rhythms and Z*F-type textural layers of ‘Boot Island Twin’ into pockets of doom nourish atonality with ‘Antler Velvet’, and the pounding ’Trophy Hunters’, to even the keel somewhere vaguely closer to Wire via Suicide in the opening of ‘Keep the Way’, which soon enough morphs into a glorious harmonic swell, and calves off into the ‘Gray Bay Play Watch’ churn of North Sea brownian silt slosh threaded with submerged voices and just-about congealing into a sort of clanking horror score groove.
Post-industrial pioneers and mutators Graham Lewis (Wire, Dome, He Said) & Mark Spybey (Zoviet France, Altered Statesmen) forge a singular sound ID from field recordings and electronics roughly hewn into half-cut grooves prone to go where the wind takes them...
Lewis Spybey was conceived as a duo project after the pair met on a podcast hosted by cEvin Key ov Skinny Puppy in 2022. Geordie Spybey, in the spirit of “shy bairns get nowt” suggested they collaborate, and the project evolved remotely between respective bases in NE England and Sweden, both bringing a combined near-century of experience and countless collaborations with the best of their epochs to the table in ways that only hint at their former projects, transcending generic brackets to converge on a sort of gritty kosmische trance noise with plenty of sand and grit in the gears.
Beginning crudely tethered to new wave pop impulses in an almost club-regulated groove peppered with Lewis’ schizoid voices and Chinese flute melodies on ‘Castle Neptune’, the album sprawls out along the scratchy motorik rhythms and Z*F-type textural layers of ‘Boot Island Twin’ into pockets of doom nourish atonality with ‘Antler Velvet’, and the pounding ’Trophy Hunters’, to even the keel somewhere vaguely closer to Wire via Suicide in the opening of ‘Keep the Way’, which soon enough morphs into a glorious harmonic swell, and calves off into the ‘Gray Bay Play Watch’ churn of North Sea brownian silt slosh threaded with submerged voices and just-about congealing into a sort of clanking horror score groove.
Post-industrial pioneers and mutators Graham Lewis (Wire, Dome, He Said) & Mark Spybey (Zoviet France, Altered Statesmen) forge a singular sound ID from field recordings and electronics roughly hewn into half-cut grooves prone to go where the wind takes them...
Lewis Spybey was conceived as a duo project after the pair met on a podcast hosted by cEvin Key ov Skinny Puppy in 2022. Geordie Spybey, in the spirit of “shy bairns get nowt” suggested they collaborate, and the project evolved remotely between respective bases in NE England and Sweden, both bringing a combined near-century of experience and countless collaborations with the best of their epochs to the table in ways that only hint at their former projects, transcending generic brackets to converge on a sort of gritty kosmische trance noise with plenty of sand and grit in the gears.
Beginning crudely tethered to new wave pop impulses in an almost club-regulated groove peppered with Lewis’ schizoid voices and Chinese flute melodies on ‘Castle Neptune’, the album sprawls out along the scratchy motorik rhythms and Z*F-type textural layers of ‘Boot Island Twin’ into pockets of doom nourish atonality with ‘Antler Velvet’, and the pounding ’Trophy Hunters’, to even the keel somewhere vaguely closer to Wire via Suicide in the opening of ‘Keep the Way’, which soon enough morphs into a glorious harmonic swell, and calves off into the ‘Gray Bay Play Watch’ churn of North Sea brownian silt slosh threaded with submerged voices and just-about congealing into a sort of clanking horror score groove.
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Post-industrial pioneers and mutators Graham Lewis (Wire, Dome, He Said) & Mark Spybey (Zoviet France, Altered Statesmen) forge a singular sound ID from field recordings and electronics roughly hewn into half-cut grooves prone to go where the wind takes them...
Lewis Spybey was conceived as a duo project after the pair met on a podcast hosted by cEvin Key ov Skinny Puppy in 2022. Geordie Spybey, in the spirit of “shy bairns get nowt” suggested they collaborate, and the project evolved remotely between respective bases in NE England and Sweden, both bringing a combined near-century of experience and countless collaborations with the best of their epochs to the table in ways that only hint at their former projects, transcending generic brackets to converge on a sort of gritty kosmische trance noise with plenty of sand and grit in the gears.
Beginning crudely tethered to new wave pop impulses in an almost club-regulated groove peppered with Lewis’ schizoid voices and Chinese flute melodies on ‘Castle Neptune’, the album sprawls out along the scratchy motorik rhythms and Z*F-type textural layers of ‘Boot Island Twin’ into pockets of doom nourish atonality with ‘Antler Velvet’, and the pounding ’Trophy Hunters’, to even the keel somewhere vaguely closer to Wire via Suicide in the opening of ‘Keep the Way’, which soon enough morphs into a glorious harmonic swell, and calves off into the ‘Gray Bay Play Watch’ churn of North Sea brownian silt slosh threaded with submerged voices and just-about congealing into a sort of clanking horror score groove.