Barringtone – Dream Boys/Pet Gazelles 7” (HUM20)
Released 15th September 2017 on limited edition of 250 7” vinyl & infinity+1 download. You can pre-order now direct from us for £5.50 inc. postage in the UK. Paypal to firstname.lastname@example.org or email email@example.com for international shipping or any questions. Free promo CD with all orders while stocks last. Contrariwise buy a CD and receive a free 7″ while stocks last. Or contact us for a variation on this theme.
Dream Boys/Pet Gazelles sees Barringtone plunged into the oneiric world, reporting back from the dimmest recesses of the night-mind. This is their second double A-side on Onomatopoiea following Feverhead/Foxes and Brimstone. It is their final single before recording is completed on their debut album.
On this recording Barringtone are: Barry Dobbin, formerly of Clor, (Guitar and Vox), Connan Cooledge (Bass) and Boomer Opperman (Drums). Connan Cooledge has since left the band to become a tax exile. We have notified the authorities as to his whereabouts. Aaron Doyle has joined the band to play keyboards and they continue to stun with a live bombardment of hardcore pop unorthodoxy at breakneck speed. Pet Gazelles is a particular demonstration of their prowess.
A Dream Boys 5:15
AA Pet Gazelles 3:16
Barringtone create an avant-pop/rock deconstructionist sound that weaves along an intrepid path. A heady mix of power pop, anthemic rock riffs, guitar/synth wig-outs and off-kilter vox are enthusiastically pulled apart and reformed with unapologetic vigour.
Barringtone’s influences include: Brian Eno, Todd Rundgren, Deerhoof, R Stevie Moore, Bowie, Neu, Sparks, Devo, Cluster and old school jungle.
Reviews have drawn comparison with: Zappa, Buggles, Cardiacs, SF Sorrow era-Pretty Things, They Might Be Giants, Joe Meek and XTC.
A Barringtone live show is a maelstrom of melody, power & control. They mix the delicate, the intricate and the complex with krautgroove power, time jarring discipline, and elevating crunch.
NME described Barry Dobbin’s former band Clor as “Retro-futurist, laboratory pop” awarding their single eponymously titled 2005 album the No.1 spot in their ‘100 Greatest Albums You’ve Never Heard’ shortly after their demise which was described as leaving a uniquely Clor-shaped hole in the all too generic world of guitar/electronic music – a band for whom “musical differences appeared to be the whole point.”.