Wild and Inside is out on CD and LP. If you want to order from us it's $15 for the LP and $13 for the CD postpaid in the US. Out of the US is $25 for the LP and $15 for the CD. No shipping to Italy, sorry GUIDOS!!!!!
Paypal scottasimmons@hotmail.com. it's on Siltbreeze records.



Tracklisting:

1. Stick to the Formula
2. Cooking a way to be Happy
3. Heaven's Stranger
4. You're With a Thing
5. Nuke Mecca
6. Who's In Control?
7. Killed By Rooms
8. Happy Submarine
9. Talkin' Bro in the Wall Blues
10. Surfing the Stairs
11. Dawn in the Face
12. Oregon Dreaming

SOME REVIEWS:

BLASTITUDE HAS WRITTEN:

I hope to write about all of this stuff sooner or later of course, but right now I'm listening to the new Eat Skull
album for the third time today and it's great. I liked their first LP
when it came out, and still think it's better than a lot of its
contemporaries, but it hasn't shown a lot of staying power... already Wild and Inside
sounds two or three times as good, really a quantum leap. Yes, they are
taking steps away from lo-fi, with playing and recording aesthetics
that are cleaner and more dynamic, but that alone doesn't guarantee
better music -- like a certain Mr. Horseshit has already reminded us,
you can't just turn down the distorto without tuning up the songwriting
first. I think that's why someone like Wavves will probably never
really be able to turn down, because he doesn't seem to have the actual
quieter songwriting moves that are required to pull it off. And
"quieter" doesn't simply mean quiet, because there's a whole lot of new
room to move and dynamics to negotiate if you get even 20% quieter than
the oppressive wall-of-static these lofi/shitgaze/whatever artists get
stuck behind. Eat Skull isn't afraid of this new territory at all and
in fact have plenty to say with it. Sure, they still spend some of this
album in the 80-100% volume range, with a few upbeat skiffly and
somewhat Beatlesque numbers like "Cooking A Way To Be Happy," and a
couple obvious ragers like the overt hardcore nod that is "Nuke Mecca,"
but it's when they get into the 40-80% range that the album really
shines and glows with a winsome but heavy melancholic dream-pop
folk-punk genius that takes great words and melodies and swirls them
into earned colors like Misfits black'n'blue, Flying Nun/Xpressway
grey, and the Hospitals' technicolor wind-tunnel brown (coupla Eat
Skullers play on Hairdryer Peace
but you probably already know that). And then there's a stunner like
the particularly quiet "Talkin' Bro In The Wall Blues," which may get
compared to the Blank Dogs with its synthetic drumbeat and lost bedroom
feel, but as cool as the Blank Dogs can sound, I always get the uneasy
feeling that if his drum-machine got shut off, or his vocal FX got
unplugged, he wouldn't be able to continue the song. "Talkin' Bro" is
so much more than a drum program with cool/empty sounds layered on top
-- it's got true melody, real words, depth, space, and varied colors.
And it's not even the best downtempo song on the album -- that would be
"Dawn In The Face," with a great melody and perfect female backing
vocals. Seriously, this is the best cave pop album I've heard yet in
the 2000s, and I think you should check it out.

http://blastitude.blogspot.com

TIP OF THE TONGUE on volcanic tongue:

Superb new album from this always-killing Portland based basement
fuzz/DIY group. The sound is a little cleaned up from their previous
Siltbreeze bomb but it's still basement formed and suitably crude in
its presentation. Wild And Inside has an instant UK DIY pop art feel
that's comparable to Ed Ball's O-Level recordings or even early Times
and TV Personalities, with classic freakbeat styled urban confusion
ballads that marry Ray Davies-esque modern world lyrics, swooning
female backing vocals (including Karianne of The Whines and Kilynn of
Little Claw) and that same euphoric garage band at the edge of the
world feel of the greatest Flying Nun sides. The album is still
dominated by punk keyboard blasters but the overall quality of the
song-writing is higher than before, with a bunch of irresistible
Nuggets-styled three chord wipe-outs bookended by murky, F/X trashed
new wave (that almost sound like Dr Mix!?) and some cool teenage
hardcore take-offs. A classic underground pop/rock record that fans of
The Clean, GBV et al will dig the most. Vinyl edition still a way off.
Highly recommended.

http://www.volcanictongue.com

"GOOD GRIEF, Eat Skull have channelled their Clean/dump vibes more
direct than ever, well, at least here on 'Heaven's Stranger' it's pure
a crushed cube of their pop; elsewhere it's falling apart as much as
usual and sometimes maybe a little too literally ie cymbals that sound
like they're coming from yr flatmates room or another MySpace window.
They also do some acoustic ballads and they're just terrific at those
too, dawn lamenty train track type of things such as 'Oregon Dreaming'.
Melody crush! This is so flippin good!"

from Rose Quartz, http://rosequartz.blogspot.com

20 jazz funk greats:
We have been staring in awe at the febrile glue wave moth spiralling
around an incandescent flame where timeless melodies dance & tinkle
frail like undead muses always prettier under a few shovelfuls of noise
and fuzz, as the good ole ancestors of the first shoegaze revolution
taught us , well, it’s Eat Skull who have come up with the definitive document of this journey, it is Wild Inside, out soon in Siltbreeze.
And how? By distilling all that’s good about Americana, from Gene
Clark to Glen Campbell, mournful guitars that stretch across arid
landscapes like barbed wire laid down with bare hands to leave a trail
of blood you can track to a heart which keeps going, echoes of rhythms
resonating in the distance like the footsteps of anonymous heroes
marching in the night under the attentive gaze of slender foxes, lyrics
which are the invisible tattoos we all carry carved indelible in the
inside of our skin. Beautiful shit, literally.http://www.20jazzfunkgreats.co.uk

raven sings the blues

Eat Skull burst out of their former cloud of fuzz and clatter for a cleaner sound, letting their inner Kiwi pop hearts shine on Wild and Inside.
It's as if all the catchy parts you were pretty sure were lurking under
their last album were actually allowed to roam free here; but don't
think that just because they've shaved the stubble that Rob Enborn and
crew have turned into distinguished party guests. There's still plenty
of yelping, strumming and yeah the anthemic fist rattling garage hooks
that they've always had - just y'know less crud in the mics and a new
batch of tape on the amps. There's also a few, dare I say plaintive
moments; bare bones but earnest and full of emotion. Quite honestly I'm
glad for the bit of spit shine applied to their sound, Eat Skull really
get comfortable with themselves here and the confident clarity makes
for a pretty extended bout of repeat listening. I can even don the
headphones for this one, though as with most of the Siltbreeze roster
this is probably best left rattling your speakers to really appreciate
it.

http://ravensingstheblues.blogspot.com/

Other Music:

With their second album Wild and Inside, Portland, OR's Eat Skull advances to the very top of lo-fi's precarious pyramid, as they ever so slightly clean up their image in the service of better-realized pop music. The rousing violence of their two singles and debut album Sick to Death has mellowed into a refined appreciation for melody, waltz, and mood that distills the rowdy sing-a-longs of past efforts into a layered love letter to the '90s, by way of Further and Summer Hits records. If you still favor the rough edges, but wish that the end result was a little more than three chords and lyrics about being bored, maybe it's time to graduate to Eat Skull, perhaps the poppiest record ever released on Siltbreeze (and they did a Guided by Voices record). You'll still get the punk, but of far greater substance and with far more wisdom. Frontman Rob Enbom is on some sort of personal streak, between this, his work on the Hospital's Hairdryer Peace, and the new reissue of the tape he made with Times New Viking's Beth Murphy as Hole Class. These twelve songs breeze past, each leaving a unique impression, but overall with the feeling that if Dinosaur Jr would have toured New Zealand with the Clean back in the early '80s, such a sound could have been possible earlier in history. As such, we have it to enjoy now.


Julian Cope's Head Heritage sez:

Jumping straight in, I’ll tell you what for kick off, I’m a mad cunt for the ecstatic and Shamanic meld of Post-Punk & Commune Kraut served up on WILD & INSIDE by Eat Skull. Released on the almost always excellent Siltbreeze Records ( www.midheaven.com), this disc is a doorway that combines the Art School ramalama of Swell Maps, Blue Orchids and the Fire Engines with such bizarre song-based Commune-style music as mid-period 13th Floor Elevators and PARADIESWARTS DÜÜL-period Amon Düül. This lot rage and rage then blink and it’s gone. I like that but it don’t half breed the need for repeated plays. Leave ‘em wanting more, that’s my motto.

http://www.headheritage.co.uk

alan baban at cokemachineglow writes:

As a rock fan and average consumer I enjoy being stratified. I guess I like tape hiss, noise (though not for noise-sake), those little residues of melody that crinkle and let off gas when we’re off on our ratchets, at-one-with-the-speaker, just treasuring how a lot of this hip stuff makes us feel. Like, aw c’mon rock bands—I know you’re out there, let’s do this together. You and me. Let’s rediscover that rush, that real now I’ve woken up! sensation— sinking in a beanbag outside a friend’s room, just coming to realize that whatever happened before “Debaser” didn’t happen. I want bass lines to communicate elan and severity and humour and allsortsa multifarious round-types without just copping off Kim Deal’s four-finger intro. Eat Skull’s Dead Families EP from last year led off with one such track—‘cept let’s swap bass for loud fucking guitar, and rhythm guitar at that. The title track off that EP was bust-out, inflamed and just off-the-wall in terms of how energetic this band sounded ribbing into the Velvet Underground then self-limiting into New Order for a four-minute outro as if it were nothing. If you haven’t found Dead Families, now is your time to, uh…find it. On the Internet.

Since then this band’s released one record and one comp but neither, in their approach or production, really hints at the depth jumping deep out of Wild and Inside. Don’t get me wrong: this isn’t a revolutionary statement, nor is it some zoo of that wild banana-boating pop shtick that charges past genres at a wary distance. There’s an underground current flowing through this, but it’s a current that’s splattering over all the edges, finding funny courses through styles we thought were uprooted or gone to waste. Eat Skull play their songs like a true band on the run. And as much as their second record sounds slight—sounds, almost, like a group recording on the fly, in spare moments, with spare parts—it’s in the end only to add to the exasperation of these songs. This is their edge.

Progressively dirtied by the years, dimmed through experience and boarded up by whatever fads or economics had them noticed in the first place, Eat Skull are, first and foremost, a band of people who like to write snotty songs and play them in front of people who could care less, and maybe do, and maybe then ask for cigarettes during the smoke break. Sick to Death was a lived-in debut; Wild and Inside is more scattered. Some of the songs here are what I guess we’d call “perfect pop”: at least within our scheme of imperfection, “Heaven’s Stranger” and “Oregon Dreaming” are as good as any of the classics people compile lists out of. The latter, weirdly, even ties them to the Replacements—Rob Enbom howling, “The worst people having the best time / The old rules still apply.” It’s “Bastards of Young” territory, in the best way.

The more subdued, sleepy stuff (“You’re With a Thing”) just goes to highlight the peculiar, honest feeling that courses through this. It’s true that there’s less distortion here, more acoustic-ness, but the point is that Eat Skull’s sound is basically self-encroaching. Wild and Inside is a weird mix of being tomahawked by a psycho killer and then stitched back together by a backroom surgeon. Occasionally said tomahawking and stitching happens at the same time (check: “Stick to the Formula”), and when it doesn’t, the band cleverly sequences their shit to throw the listener off balance. The hardcore stampede “Nuke Mecca” is followed quickly by the gang round a campfire, smoking, singing, “Who’s in Control.”

Speaking of which: this frickin’ band! There’s a number of good things I want to say about this record—but, I hear you. “What does it sound like?” Here’s another annoying and equivocal answer: Wild and Inside is a loud, quiet, sharp, dull, stabbing, choking, tightening and in the end just bloody liberating vagary of noise. It’s something of the antidote to the slew of bedroom and lo-fi bands that’ve been popping up since people decided that was the done thing. Wavvves (2009) is about as outsider as a newborn designer baby.

Fact is that when it comes to Eat Skull I want to even avoid using the word “lo-fi.” Eat Skull are moving on, are in the process of moving as we listen. Wild and Inside is no masterpiece, but there’s enough ingenuity and heart here, at least, to build a career out of—one made of solid records and happy fans and that weird sense of community we all get when that voice in the channels runs through a dozen-or-so variations of exactly what you want to be hearing right now. It rocks!

http://www.cokemachineglow.com