Eyeless in Gaza, Photographs as Memories (side A)

1981's Photographs as Memories sounds amazingly tiny and bright.  The guitar falls into a narrow range, without high or low-mid frequencies audible — it presents a sonic wash, without much attack, presence, or definition.  The primitive drum machines are not high up in the mix, and their limited inherent punch is de-emphasized.  The keyboard does cut through with a fuller frequency response, with really present highs on some songs that are emphasized in mastering.  They never sound shrill, but they sometimes leap out as the loudest thing in the mix.  Martyn Bates's vocals occupy a narrow space as well, and they're typically kept low in the mix.  Most songs here follow a simple verse-chorus structure, drawn neatly from a pop tradition, only without the prominent vocal melodies.  Occasionally, as on "John of Patmos" at the end of side A, the palette and structure move in a somewhat more abstract direction.  These moments hint at the freer experiments of a year later, when Eyeless in Gaza made Pale Hands I Love So Well.  The blurry cover image, bright yellow border, and hand-drawn font reflect the era and style of the music perfectly, and present an iconic design to match the perfectly stylized album.