LA-based Shoegaze-influenced Psychedelic Rock group Tombstones In Their Eyes have returned with the single “I Like to Feel Good“, a “testament to the transformative power of individuality and one’s ability to harness their essence to catalyze positive change.”
The new track brings in a heavier sound than the two earlier singles “Sweet as Pie” and “I’m Not Like That“, all of which preview the band’s Asylum Harbour album, slated for release on November 19, 2024 via Kitten Robot. The new album is set to “pull past the pain, numbness and chaos” reflected on their previous album Sea of Sorrow.
Tombstones In Their Eyes is made up of long-time members John Treanor (vocals & guitar), Stephen Striegel (drums), Courtney Davies (vocals) , Phil Cobb (guitar) and Paul Boutin (guitar), along with new band members Joel Wasko (bass) and Clea Cullen (vocals).
John Treanor says about the new single:
‘I Like to Feel Good’ has probably my favorite verse of any song that I’ve written. It’s the second long verse and it was written in a stream of consciousness fashion. I don’t believe that I changed any of the words that came out in that first pass. And it really hit home. It summed up my existence, thinking that my sensitivity was a burden and a malady, only to find that it is a gift that I can use to make life better.
Beyond that verse, it also has a really cool wah part leading from the main verse to the last chorus. The part only lasts thirty seconds or less but it came out so good. And I love the overall vibe and sound of the song, it sounds super fuzzy and driving (in the verses especially).
Recorded at Kitten Robot Studios in Los Angeles and co-produced by John Treanor, this album was produced and engineered by Paul Roessler (TSOL, The Screamers, Nina Hagen), also known for his work with Josie Cotton, Hayley and the Crushers and the Gitane Demone Quartet.
For John Treanor, writing and performing is also “a way of dealing with anxiety and depression, a way of talking about the subject without being the centre of the conversation, and a way of being subliminal rather than direct.”
Named after a maritime phrase for a safe place to wait out a storm, Asylum Harbour is an album of “resurfacing, reflecting a new phase of healing after re-emerging from the pandemic.”
