BioThere are those who would like for music to fit into nice little genre-specific boxes; to toe the line and follow certain preconcieved notions as to what fits with what. But over the last couple of years, several innovative artists have pushed the limits of the popular music spectrum, and in the process left some wide genre-gaps in their wake. These gaps are undefineable without numerous hyphens and subreferences. THIRD EYE FOUNDATION, the moniker chosen by Bristol’s maverick noise maker Matt Elliot, settles nicely into those gaps and makes them into a home for his signature cacophony of noise, bliss and energy. Elliot, who has spent time playing with Flying Saucer Attack, as well as Movietone, displaces notions of genre in a manner reminiscent of Aphex Twin’s more challenging moments, or the rhythmic experimentations of Main.
First startling ears with the Semtex LP and single of the same name, released on his own Linda’s Strange Vacation label and Domino Records respectively in ‘96, and continuing thru various singles and remixes, Elliot hit the scene with a blistering, fractous mix of drum’n’bass and distorted feedback loops. Third Eye Foundation first reached U.S. shores with 1997's Ghost LP on Merge, followed up by the EP, The Sound Of Violence. By the end of 1997, Third Eye had taken it’s place at the very forefront of experimental electronic dread.
Merge proudly released You Guys Kill Me in the Fall of 1998, wherein The Third Eye Foundation embarked upon a new journey, with a new open sound, laced with a kinder, gentler hypnotic digital warmth. Recorded early in 1998 at Elliot’s upgraded Bristol, England studio, You Guys Kill Me is stripped of much of the harsh edges and cacophonic noise in favor of a more subtle soundscape evoking the dark nether reaches of the listener’s soul. "A Galaxy of Stars" gets us started, setting a Latin Shuffle against a dervish string mantra. Elsewhere previous flirtations with drum’n’bass are given a shakedown with the secret technology of "No Dove No Covenant", while the slower pitched "Lions Writing the Bible" and "An Even Harder Shade Of Dark" have an eerie, charged hallucinogenic quality. In closing the album with "In Bristol With A Pistol", Matt Elliot comes his closest to sounding like his hometown.