Sub Pop Records TURNING COMMUNITY INTO CUSTOMERS

CIRCUIT DES YEUX

BIO

Lafayette, Indiana native Haley Fohr possesses a gift—either that or she’s wholly possessed by a spirit derived from extra-terrestrial origin. Then again the music/cacophony she makes as Circuit des Yeux is borne from the most natural, organic and downright homely elements one could use in the exigency of lo-fi, bedroom-conceived art, namely the earth’s percussive qualities and her god-given, god-forsaken voice. Perhaps it’s this static crawl between polar opposites that has made her so polarizing in the first place. Many who heard Symphone, her debut LP, could barely choke it down. The fidelity was such an extreme obscurant that any semblance of songcraft or ingenuity was masked by a histrionic shitstorm (that’s shorthand for tape hiss). Likewise, there were many who considered the album quite stark and stunning, a masterpiece of outsider avant-operatics and twisted femme-folk. It’s definitely built for late-night isolated listening sessions, fueled with depressants and black candle wax, best heard in dark wilderness or obsidian caverns or a place where the environment can only add to the primordial fractures and fissures that reveal the purest of emotions. I’m still unsure where I stand. It’s not a record you throw on for kicks. For secrets and intimate confessionals, yes, but I’m not about to give up the details of “der alptraum.”

Sirenum, her second full-length for De Stijl, arrives at a perfect time then. While not a summer record by any stretch (more suited for nuclear winter) now’s the moment when Fohr can stake her own identity, if she hasn’t already. To say nothing of maturity or growing up, here the mythos of Circuit des Yeux have been solidified into a phantasmagoria that splits the spectrum between Zola…

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