Portland, Oregon's EYELIDS existed long before the actual band came to be. Friends for over two decades, principal songwriters John Moen and Chris Slusarenko had long desired to get together to write songs, “sweet melodies” paired with “bummer vibes,” which would fuse Big Star’s jangle to XTC’s melodicism, connecting the dots between the dream pop sounds of the ‘80s Paisley Underground to the homespun post-punk of the legendary Flying Nun label.
For years, Moen and Slusarenko played and wrote in the company of some of the most legendary songwriters of indie rock including Robert Pollard (Guided by Voices), Stephen Malkmus (Pavement/Jicks), Colin Meloy (The Decemberists) and Elliott Smith. In 2014 they decided that it was time to finally start writing and recording together, adding the talents of guitarist/vocalist Jonathan Drews (Sunset Valley, Damien Jurado). The end result was their thirteen song debut album, 854, which gained positive notes from A/V Club, Brooklyn Vegan, BBC6 Radio and MOJO magazine. NPR called them “Portland’s best kept secret”.
That secret was short lived. Over the course of the next two-and-a-half years, the band has issued recordings at a prolific clip: They’ve released five 7”s and a 12” EP (which was labeled “EP/single of the year” by legendary East Coast freeform radio station WFMU ). They toured in the States and overseas, as headliners and as openers for Drive-By Truckers & The Charlatans UK (after hearing 854 Charlatans leader Tim Burgess asked to release the album overseas via his O Genesis label).
“With the first album we quickly realized that we were not just a studio project but a band, that wanted to play these songs live,” Slusarenko says. Eyelids wasted no time enlisting Paul Pulvirenti (No. 2, Elliott Smith) and Jim Talstra (The Minus 5, Dharma Bums) as their rhythm section. The band’s live action led directly to the band’s new album, or. “We wanted to make the second album with all five of us from the beginning and it was pretty exciting to see that come to full bloom,” Slusarenko says.
With or, the band’s second full-length LP, Eyelids has created their most emotional record yet. Produced by Peter Buck of R.E.M. and mixed by Thom Monahan (Peter, Bjorn and John, Devandra Banhart, Fruit Bats), or is liberally sprinkled with the hooks, melodies, and charming wordplay that make a certain kind of rock & roll fan fall madly in love with an LP. It’s all evident in the opening song, “Slow It Goes” — is that a play on Vonnegut or Nick Lowe? Somehow both feel appropriate — the kind of classic easily slotted between Superchunk and the Raspberries on a mixtape, locked and loaded with a perfectly winsome expression of angst: “She says, ‘If I can keep from sighing, why can’t you?’” From there, the sequence dives deeper and deeper into Slusarenko and Moen’s love of underground pop: listen to those sparkling “Starry Eyes”-worthy guitars on “Falling Eyes,” the psychedelic swirl of “My Caved In Mind,” and the Dream Syndicate mysticism of “Tell Me You Know.”
or marks the first time of having an outside producer and having Peter Buck in that role proved a steady presence, along with his encyclopedic rock know-how. “Peter brings a certain calm to the studio at an Eyelids session,” Moen says. “I think he helps us get the best out of ourselves in a timely way, as he doesn’t like belaboring a point.”
Joined by guests Jay Gonzales (Drive-By Truckers), Jonathan Segel (Camper Van Beethoven) and Buck himself, the record demonstrates what happens when a group of old friends get into a room and truly collaborate. With friendships stretching back to their teens, Slusarenko and Moen bring out the best in each other as writers, resulting in a creative tension between their respective lyrical outlooks (dark/sunny). With or, collaboration was key. Take for instance the song “Moony,” which began as a sketch by Slusarenko. “It had a kind of pretty looping cyclical feel,” he says, but Moen and Drews began adding Marquee Moon-style guitars on the spot, and the rhythm section of Pulvirenti and Talstra hit on a Black Sea-era XTC beat. Suddenly, it became a whole new beast. “It was a new language for the band,” Slusarenko says. “We’re all pretty different stylistically, so it’s always cool to see where we push and pull each other.”
or is the sound of a band realizing its potential, of old friends connecting creatively and sonically, creating exuberant, nuanced, pop music.
Caitlin is a loyal Californian, and Californians are always willing to honor a dare. In 2005, her husband Johnny from the beloved band Far dared her to write songs to match the beauty of her voice. The songs she wrote were good enough to be recorded by her friend Robert Cheek at the Hangar studio in Sacramento, with Johnny and Rusty Miller (Jackpot, Jason Lytle, Kelly Stoltz) filling out what would become the band Two Sheds. That album, Strange Ammunition, was self
released 2006. They followed with an EP, released by Filter Records in 2007, and spent the next few years touring.
In 2010, Caitlin took a hiatus from Two Sheds to join Release the Sunbird, the solo project of Rogue Wave frontman Zach Rogue, and had the opportunity to share the stage with Peter, Bjorn & John, Death Cab for Cutie, and the Flaming Lips.
Two Sheds resumed when Caitlin and Johnny moved to Los Angeles in 2012. Caitlin was duty-bound to respond to another dare, this time a challenge from a friend to write twenty songs in one day. Caitlin took that dare three different days, in fact, and ended up with enough solid songs to record a new album with Johnny and drummer Josh Barnhart (Release the Sunbird, Port O’Brien, Sparrows Gate). The resulting album, Assembling, was engineered by Eli
Thomson (Delta Spirit, Richard Swift, Everest) at New Monkey Studio in Van Nuys, CA (Elliott Smith’s former studio). Tracking was performed mostly live over a 5-day session to capture the songs with the same immediacy with which they
Two Sheds' music takes the tender and direct pop mindset of someone like Liz Phair straight to the top floor. Caitlin's voice may remind listeners of Kristen Hersh or Mazzy Star, sounding like she's weeping in the sad songs and smiling in the happy songs. The band takes the California rock-soul of comrades like Mother Hips or 90s indie wizards Pavement, driving to the essence of a song in the shortest path possible. They are pushing themselves to dig down to the still-
genuine heart of rock and roll, where true love still resides, away from the false promises of the searchlights. They will dare you to not be enamored.