Cinema Eye

The Cinema Eye’s some nerve, on Soundvirus records (home to Death From Above 1979 and Blood Brothers) came out in November.  They’ve been on the road since, and told C Magazine that philistines outside our great state’s round ends often accuse them of being too cool to come from Ohio, demonstrating not only that people outside of Ohio are much dumber than us, but that The Cinema Eye has created a uniquely urban and perhaps urbane sound that the under-informed could never picture coming from an agrarian red state.

Mollie Wells plays the bass parts on a keyboard, which may sound peculiar to a purist.  Just remember, Bernie Worell did the same thing on “Flashlight,” which is one of the purest songs around (and perhaps THE purest bassline).  Mollie sings, too – kinda a little like Dale Bozio - but with much better sustain and with out all that “uh-oh” squeaky stuff.  She also commands attention, with a unique, sexy, curious charisma, and three guys playing really loud guitars, drums and sometimes key-tars.  When Jan Hammer did that, he looked like an ass, but when Carlos Nunez does it one begins to wonder if “cool” doesn’t need a little re-defining.

Paul Rentler’s guitar washes and David Fowler’s driving beats create the backbone for some definite city music.  It’s derivative of everything from Blondie to Funkadellic to Sepultura, while it coheres as a truly original entity.  The Moogy sounds of Carlos’s keyboards and the fluid, swampyness of Mollie’s bassboard give said city sounds an early-Eno thing under a pronouncedly Motorhead guitar forwardness.  Man, it’s gonna be hard to be hip without owning this record.