The Dye is here with a brand new song: House of the Fall
June 2022 – The Dye is a band with a focus on creating music that explores the depth of modern post-punk, with close ties to the golden age of the genre.
Fans of seminal artists such as Bauhaus, The Cure and Siouxsie and the Banshees will definitely connect with this, but so will fans of modern post-punk artists such as DIIV, Dead Rituals, Cathedral Bells or Preoccupations, only to mention a few.
The New York City combo also strays from the archetype of post-punk by incorporating a broad range of influences into their music, including psychedelic and retro-wave elements. The Dye’s most recent single, “Hose of the Fall” is a great example of all the edgy and raw energy that one can expect from the band’s performance.
While the tone of the band is down-to-earth and no-frills, there is also room for many nuances and added colors that make the music texture-rich and immersive.
Find out more about The Dye, and listen to House of the Fall. This release is currently available on some of the most notable digital streaming services on the web.
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For those not in the know, it was a big step for alternative rock group The Dye in their four-year journey from inception to this month’s release of their debut album, Painting the New Night.
The sold-crowd at New York City’s Rockwood Music Hall erupted boisterously as guitarist-vocalist Bruno Arredondo and vocalist-keyboardist Eudora Ellis led the band in the premiere performance of the two singles released last month, “Clementine” and “Tantric Pace.”
The double single release set the stage for the WITHYN Records album produced and mixed by multi-time Grammy winner Damon Whittemore (Paul McCartney, Béla Fleck, Cécile McLorin Salvant, Arooj Aftab) slated to drop on June 10th, 2022.
The Dye paints sonic murals crafted from palettes of psychedelic color and dark gothic hues. Arredondo and Ellis wrote eleven songs for Painting the New Night, pairing their flair for incisive poetic lyricism with artful mélanges of sound constructed from vintage classic rock sensibilities, retro new wave nuances, post-punk edginess and bite, and avant-garde alternative rock.
Vibrant melodies and lush harmonies cascade, washing over tracks etched from gritty, grinding and gauzy guitar riffs and swirling swatches of keyboard atmospherics anchored by raw rhythmic basslines (Paul Ogunsalu) and punctually aggressive drum beats (Jared Pease and Eric Grajo). Tenor saxophonist Isak Gaines adds to the wall of sound.
1. “Sheet Of Flowers”
2. “Clementine”
3. “Tantric Pace”
4. “Helen”
5. “Full Moon”
6. “House Of The Fall”
7. “Pool Of Night”
8. “Summer”
9. “Colors Of The Universe”
10. “Town Of The Tower”
11. “Tuning The Wind”
This at all times pleasing musical extravaganza opens on the shimmering “Sheet Of Flowers” and then Arredondo sings lead on the psychedelically goth-tinged “Clementine,” a tune about love and surrealism, and they are in turn followed by the powerful vocals of front woman Ellis who herself helms the Grace Slick-esque rocker “Tantric Pace,” which tackles violence against women, the translucent, ’80s Cure-esque lure of “Helen” and then we get the rhythmic charms of “Full Moon” and the upbeat, Doors-esque “House Of The Fall.”
Next up is one of my own personal favorites on this vibrantly captivating new recording, the languishing beauty of “Pool Of Night” and the atmospherically-charged “Summer,” and they are backed seamlessly by the reverberating melodies within “Colors Of The Universe,” the early ’90s goth of “Town Of The Tower,” the album coming to an all too soon close on the Smiths-imbibed “Tuning The Wind.”
“There was an enormous amount of passion, devotion and positive intentions that went into creating each and every note of this work of art,” lead vocalist Ellis (and who plays synthesizers, organ, piano and tambourine on the recording) explains. “The album ignites sensory pathways that illuminate with vivid dreamlike landscapes of colors. ‘Painting the New Night’ is a journey into the labyrinth of the soul, finding new spaces, shades, tones, textures, shapes and shadows of sound.”
“The album invites one to embark on a sonic quest delving deep into psychedelic, cinematic alternative rock while traveling through themes of transformation, empowerment, release, innocence, mysticism, rebirth, love and healing.”
Arredondo and Ellis first met while studying at Berklee College of Music. Arredondo was allured by cinema, poetry and classic rock music, and he studied theater and filmmaking in London and New York. He found comfort in the studio composing and recording cinematic music.
Before Berklee, Ellis ventured into singing jazz, recording several albums in the genre. While in the UK, she turned down the invitation to join the British band Portishead.
Arredondo and Ellis linked up in New York City three years after graduating Berklee and decided to collaborate. It was at their third show together as The Dye in 2016 that provided confirmation of the creative magic that existed between them.
Audio engineer Richie Clarke (Herbie Hancock, Brian Eno) was one of the mesmerized audience members at that concert and he connected the band with Whittemore. Work began in earnest in the East Village at the famed Flux Studios with Clarke as part of the team.
Meanwhile, The Dye cultivated a following by becoming a staple on the Big Apple’s club circuit. They released the “Poem of Ride” EP three years ago, which was mastered by Grammy winner Joe LaPorta (David Bowie). The title track was selected as the best tune of the month on the national radio show Indie Music Countdown. The Dye was already a year into working on Painting the New Night when the EP streeted.
“Four years have passed and the experience of making Painting the New Night has been the most incredible of my artistic career so far. The entire process changed our lives as musicians completely. I can’t wait for the world to hear the album,” says Arredondo.
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The Dye’s ode to The Fall of The House of Usher. In this version the central character, Lady Mystery, is going back to the haunted mansion where she used to live and lost her child. The pain of losing her child is so unbearable she’s drawn to return home to find her son or lose her own soul. “Fires on the wind melting my last breath raging in the House of the Fall”, the opening line takes you to a stratosphere where everything is possible! The images of rain and mirrors function as portals to other universes beyond ours that serve as escapades, echoes and foreshadowing. The final line “Drowning my mind ”, signals to the listener that Lady Mystery has lost her mind. On the journey to madness she has escaped from her pain and absolved from her nightmare reality. She will never see her son again in this waking life. She is released in the goth aesthetics and sound of The Dye’s tune! Being human is intrinsically tied to the experience of loss. Grief can bring us to a dark abyss where we can lose complete control of our minds due to the unavoidable pain of detaching from someone essential to us. Mourning evokes memories that haunt the mind, driving one to states of madness…especially in the case of a Mother losing her child. In the moments of suffering and solitude,paranoia and hallucinations arise: as illustrated in the line “I see the mirror swallowing my shadow”. This shadow can also call the image of her son. Creating an alternate reality can help people to escape from pain, which is the main determination of our character. The extreme weather images such as fires on the wind and storms around Lady Mystery help to create an ambience of horror that functions as a trigger for imagination, creativity and mystery. This allows the audience to travel freely from the confines of the mundane world. The song is a tale and a sound escapade for the listener.
