Name: Everyone's Crushed
Brand: Water From Your Eyes

Bonus disc

Bonus disc: No

Catalogue number

OLE1930LP

Colour

Black

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2023-05-26

Signed copies

Signed copies: No

Supplier GB

PIAS

Tax rate GB

Standard:20

UPC / Barcode

191401193016

Total Cap

Black LP

OLE1930LPE

Extended format: Yes

191401193009

Red LP

OLE1930CD

191401193023

Artist

Water From Your Eyes

Genre GB

Alternative / Modern

Label GB

Matador

Water From Your Eyes is an American duo hailing from New York. Formed by Rachel Brown and Nate Amos, they have created a unique blend of electronic pop that captivates audiences with its infectious beats and mesmerizing melodies.
With their distinctive sound and captivating performances, Water From Your Eyes has gained a loyal following in the music industry. Their music combines elements of synth-pop, indie rock, and dance music to create a truly immersive experience for listeners.
Through their thought-provoking lyrics and catchy hooks, Water From Your Eyes explores themes of love, loss, and self-discovery. Their songs are both introspective and relatable, making them resonate with fans on a deep level.

U.S. independent label based in NYC; for company roles and copyrights please consider [l390562] for the USA, [l=Matador Records Ltd.] for the UK company division and the generic company profile relating to either legal entities [l=Matador Records (2)] 
[b]Note that while some Matador releases are exclusive to North America or Europe, they use one numbering system for all releases, so it is not necessary to enter them under separate labels.[/b]

The Matador label began in 1989 when [a=Chris Lombardi] dragged the Austrian duo H.P. Zinker into Wharton Tiers’ Fun City studio to record OLE-001, ...and there was light. Run out of Chris’ New York apartment, Lombardi added artists such as the Dustdevils, Railroad Jerk and Superchunk to the initial roster. Joined by longtime Homestead Records manager Gerard Cosloy in 1990, Matador experienced its first taste of crazed media attention & big sales with the North American release of Teenage Fanclub’s debut long-player, A Catholic Education. Over the years, the label has moved from shoebox sized offices to larger and larger complexes, the staff has grown from 2 to 24, and the roster has simply exploded. As well as functioning as the North American home to Pavement, Liz Phair and The Jon Spencer Blues Explosion, Matador has helped artists such as Yo La Tengo, Cat Power, Cornelius, Solex, Pizzicato Five, Helium and the Arsonists reach audiences worldwide.

Matador has also served as the North American licensee for a number of exceptional international acts, including Belle & Sebastian, Mogwai, Boards of Canada, Red Snapper, Arab Strap and others. Since 1996, Matador has maintained separate offices and staff in London. In addition to supervising the promotion, sales and marketing of Matador titles on the continent, Matador Europe has also licensed recordings from some of North America’s most acclaimed new artists, M. Ward, Sleater-Kinney, Modest Mouse, and Superchunk to name a few.

While Matador has often been characterized (not by the label itself) as an underground or "indie" rock label, over the years, the label’s musical direction has grown, to the point where many hip hop, electronic and experimental acts play as prominent a role in the label’s sound & future as any number of singer/songwriters and rock bands. Sometimes all of the above converge.

During the 1990s, Matador entered into partnerships with [l=Atlantic] and [l=Capitol Records]. In 1999, Lombardi & Cosloy purchased back Capitol's 49% share of the label, and in 2002, [l613604] purchased 50% of the legal entities behind the Matador label / imprint [l390562] and [l291335] and took over Matador's worldwide marketing.

Life is horribly dark right now. And yet, it is not unfunny.

That’s the sentiment that animates Water From Your Eyes on their new album, and first for Matador, Everyone’s Crushed. On the follow-up to the Brooklyn duo’s 2021 breakthrough, Structure, Rachel Brown (they/them) and Nate Amos (he/him) find silliness and fatalism dancing in a frantic lockstep, using heart palpitating rhythms and absurdist, deadpan lyrics to convey stories of personal and societal unease. Described by Brown as Water From Your Eyes’ most collaborative record ever, it’s a swollen contusion of an album: experimental pop music that’s pretty and violent, raw and indelible.

Everyone’s Crushed is shot through with unresolved tension, its nine tracks skittishly refusing to seek out resolute endings or stick to traditional structures. Many songs were written using serialism and microtonalism, and at times evoke the futurist-pop moves of Japanese composer Haruomi Hosono and the brutalism of Glenn Branca. “Barley” is a dance-rock track sequenced in alien tonality, with Brown speaking garbled transmissions (“One two three/Counter/You’re a cool thing count mountains”) over a bed of hallucinatory guitars. “14” leans into contemporary classical, with curtains of overlapping de-tuned strings underscoring lyrics that Nate describes as something out of a “gross-out horror movie”:&nbsp;“I’m ready to throw you up.”

Water From Your Eyes still possess an off kilter, shitposty quality. Everyone’s Crushed manages to reference classic rock twice – first, on “Barley,” when Brown accidentally invokes Sting with the lyric&nbsp;“walk in fields of gold,”&nbsp;and again on “True Life”, when they sing:&nbsp;“Neil let me sing your song/It’s been this way for so long/Give me another chance.”&nbsp;Those weren’t the song’s original lyrics – Brown and Amos initially wanted to interpolate the bridge to “Cinnamon Girl” – but this is a typically meta compromise for the pair, a way to turn “True Life” into a song about writing the song “True Life”.

Everyone’s Crushed maps the liminal space between humor and darkness, between cracking up and freaking out. In the album’s closing moments Brown speaks in direct terms,&nbsp;“Clap those hands/Buy my product/There are no happy endings/I’m spending/I’m spending.”&nbsp;It’s playful and totally serious, punky bordering on anarchic, and a resolution to the record’s opening sentiment - “I just wanted to pray for the rain/Wishful thinking for sunny days.”

Everyone's Crushed

Music GB