R.E.E.L: Answers Come In Dreams Rapid Eye Electronics Ltd. are three refugees from the First Great Psychedelic Duelling Wars in the Somerset environs, dealing primarily in Pataphysical Glitchery, Brown Acid Haus and Soft Ambient (under)bellies.  Farmer Glitch (ex Hacker Farm, pHarmerz), Saxon Roach (IX Tab) and Matt Saunders (Assembled Minds / Magnétophone) formed R.E.E.L. initially as a one-off audio / visual project for Supernormal Festival, but soon found that working together was sending them into unexplored territory so the project was extended, in the hope of more accidental alchemy.  While the Supernormal performance was gently psychedelic and a little Tang(u)y, R.E.E.L. are wholly at the mercy of their equipment, some of which is itself subject to the erratic farm-machinery tinkering of Glitch, and so the music often slides into abrasive metallic techno, K-Hole House and occasionally, when things go really right, harsh industrial noise.

Rapid Eye serves as a reminder of the importance of the dream-state (and it’s partly intended as music for Brion Gysin / Ian Sommerville’s dream machines) but also as a reminder of the great series of books edited by Simon Dwyer.  The music should flicker like the eyes.  Electronics is self-explanatory, except there’s an implied emphasis on the El, the precursors of angels, found in some Celtic mythos. Ltd. is, of course, a reference to our means, our attitude and our style.  And we all need limiting.

If anything, R.E.E.L. came together as a result of eternal disco-n-tent with what is typically termed psychedelic / acid music. We felt that most of the music served under those treacherous titles was missing the point of the psychedelic experience entirely, so we decided to make our own.  We got on the bus, as the Merry Pranksters once said.  It’s music for anyone who’s ever waded through the mud and drugs at Treworgey Tree Festival and settled on something entirely transcendent.  It’s music for people who understand that every year is the best year for music, that all ages are Golden ages and it’s music for people who understand perfectly that psychedelic music really ought to be confusing, occasionally terrifying, sometimes ridiculous, often absurd and always entirely ecstatic, even if you’re buried up to your neck in sand and shivers.  Consider us as small jester-like creatures, scrabbling in the shadows, giggling like machine elves and repeatedly pulling at the light cords.

Something’s gonna blow; get on the bus.