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Dover Lights (LP)

by Dover Lights

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  • Record/Vinyl + Digital Album

    Limited Edition White Marble vinyl - only 50 available. Vinyl is clear with a white marble effect. Full lyrics on the inner sleeve.

    Includes unlimited streaming of Dover Lights (LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 6 days
    Purchasable with gift card

      $26 USD or more 

     

  • Record/Vinyl + Digital Album

    12” classic Black vinyl with full lyrics on inner sleeve.

    Includes unlimited streaming of Dover Lights (LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 6 days
    Purchasable with gift card

      $24 USD or more 

     

  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      $10 USD  or more

     

  • Compact Disc (CD) + Digital Album

    CD comes with foldable booklet sleeve with full lyrics and credits.

    Includes unlimited streaming of Dover Lights (LP) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 6 days
    Purchasable with gift card

      $10 USD or more 

     

1.
Prisoners 05:19
Prisoners are gathered in the port at dawn; The sky is burnt up and filled with iron. Uniformed men in the divisions are awake, Guided by the thoughts of lines they’ll have to break. Put your ear to the ground and listen: Tap into the wire, but there’s no transmission. Above all, I will this One thing, And I plan to take it. My life is not long enough; It’s so far past the limit. My shoulders aren’t broad enough, But I plan to take it. Above all I will this one thing, Empty streets from colder times, Years after the occupation ended, There’s still a curfew in their minds, No soldier left here, stationed to enforce it. Fixed upon the space where no one ever goes, You reach out for warmth among the shadows. Above all, I will this One thing, And I plan to take it. My life is not long enough; It’s so far past the limit. My shoulders aren’t broad enough, But I plan to take it. My life is not long enough; It’s so far past the limit. Above all, I will this One thing, And I plan to take it. My life is not long enough; It’s so far past the limit. My shoulders aren’t broad enough, But I plan to take it. My life is not long enough; It’s so far past the limit. My thoughts in replication— Given time, who will embrace them? I am programmed for senescence; Lies have made me faceless. Pure in heart, but locked in time, And I can’t remember why I stood cold at the open door, Forced my hand through your armor, And I begged you to free me. For I’m troubled by my dreams; Other nights, they comfort me. Above all, I will this One thing, And I plan to take it. My life is not long enough; It’s so far past the limit. My shoulders aren’t broad enough, But I plan to take it. My life is not long enough; It’s so far past the limit. Above all, I will this One thing, And I plan to take it. My life is not long enough; It’s so far past the limit. My shoulders aren’t broad enough, But I plan to take it. My life is not long enough; It’s so far past the limit.
2.
The beginning, the future, the light in the ashes— My still eyes, open, caught the light in their lashes. A chance to fall, I've taken it blindly; The passing moments will not be kind. I was in a stupor by day and blackened by time; The passing of months has not been kind. Caught in the grains between black and white, The essence of life, the essence of my life. Don't leave me waiting here, Don't leave me on my own. Don't leave me hanging, no. Don't leave me waiting here, Don't leave me on my own. Don't leave me hanging, waiting here. Don't leave me hanging here, Don't leave me on my own. Don't leave me hanging, waiting here. Don't leave me on my own, Don't leave me hanging. Waiting on the Terrors of night, Waiting on the Terrors of night, Waiting on the Terrors of night, Waiting on the Terrors of night. These motives we've made, and family ties; I’ll be the last one on earth, the last one to die. I'll cut off my right hand, and gouge out my eye; The coming years will not be kind. Don't leave me waiting here, Don't leave me on my own. Don't leave me hanging. Don't let them hang me. Don't leave me waiting here, Don't leave me on my own. Don't leave me hanging, waiting here. Don’t leave me hanging here, Don’t leave me on my own. Don’t leave me hanging. Waiting on the Terrors of night, Waiting on the Terrors of night, Waiting, Waiting on the Terrors of night.
3.
Woke to an orange street lamp, and the world wasn’t here; No silhouette of your figure to cancel my fear. Ever near, ever out, every shadow, every thing, I keep trying in memory to fill it all in. Your violent kiss, I will have to repay; You constantly give, now it’s time that you take. Live it up, going out, in young resolve, Walk with me as a memory dissolves. We swam far enough, then we had to get back, On the shores of the night world, Glass sands of black. Ever near, ever out, every shadow, every exit— Keep trying in memory to find what connects it. Your violent kiss, I will have to repay; You constantly give, now it’s time that you take. Live it up, going out, in young resolve, Walk with me as a memory dissolves. Interlocked, As a memory dissolves: Walk with me as a memory dissolves, (Dreams are not something you should fall into) Walk with me as a memory dissolves, (You swim to the surface, but you can’t break through) Walk with me as a memory dissolves, (Dreams are not something you should fall into) Walk with me as a memory dissolves, (You swim to the surface, but you can’t break through) Walk with me as a memory dissolves, (Dreams are not something you should fall into) You swim to the surface, but you can’t break through; Walk with me as a memory dissolves, (Dreams are not something you should fall into)
4.
(Instrumental)
5.
Blue Fox 03:22
There was a crescent moon last night, And it shone through the dark clouds with fire. And when I was young, I used to dream of those Arabian Nights, And I still do; Yes, I still do. I saw a Blue Fox walk by— So many things that I see In the Moonlight When you're asleep, when you’re asleep, when the whole world is sleeping.
6.
Three Women 03:01
Filigree was pulled from my eyes; I awoke to the soft voice of a woman, Whose hair shone red as dusk and laid on her shoulders, as the roots of an oak, at the edge of a stream. Into the Rhineland, through the border by train, Seven hours she had me— her hand, in my fate. Then, when she left me, and the languages changed, I understood the guards’ voices on my way home To the second tongue land that felt like my own. Weighted in history, Fall nights in mystery, Carry on. Weighted in history, Fall nights in mystery, Carry on. Palest of roses, in a palace of fog, On the crags of the coast, on the cliffs near the bog. There, in your youth, fixed in my mind; forever beside me, within me. Weighted in history, Fall nights in mystery, Carry on. Weighted in history, Fall nights in mystery, Carry on. Weighted in history, Fall nights in mystery, Carry on; Carry on.
7.
Howling Man 05:45
Lost for the first time, In the sad meetings of our world; I met my enemy in a dream. He posed as a loved one, who had passed on, but I could see within the form he took— the rot and the death when no one else could. I said to my family in that dream: Why won't you let him go? Why won't you let him die? And then, the thing, Within the stitched body spoke to me, and assured me he had come back, and everything would be put right. I could smell the sulfur and the death, emanating from him when no one else could see: I have never felt a hate so strong, I have never felt a hate so strong. A face in the crowd, (a face that looks like your own) A voice in your mind, (and in the footsteps behind) A cold hand on your shoulder; A face in the crowd, (a face that looks like your own) A voice in your mind, (and in the footsteps behind) A cold hand on your shoulder; A face in the crowd. The mind wanders endlessly, as does the human heart; Like an unclean spirit goes through arid places, Seeking rest but never finds it, I hollowed out my insides, and changed my form, and I stared into the mirror Far too long. Most of our suffering, we’ve brought upon ourselves; But, as a gift, you may see A vision—of Hell. A face in the crowd, (a face that looks like your own) A voice in your mind, (and in the footsteps behind) A cold hand on your shoulder; A face in the crowd, (a face that looks like your own) A voice in your mind, (and in the footsteps behind) A cold hand on your shoulder; A face in the crowd, (a face that looks like your own) A voice in your mind, (and in the footsteps behind) A cold hand on your shoulder; A face in the crowd (a face) (a voice)
8.
Take a breath, Walk alone for miles. Drive until the road leads you to the sea. Hours run through your lifeline, something rugged and fair; You see the end, it’s coming, in a short while you’ll be there. Return through the midlands, You find the crops are gone; Winter came in, and stole them again. If only there were hills to comfort these lonesome fields; Skeleton trees are the only friends of these flat dead lands. In the fade of the evening, The fields look gray as ashes. A golden stalk cannot be found; The sun is falling down. Split the day from the night with the dwindling of Red Light. The Lady comforts me as I mull over my time; In the times of the saints, in the casting of Red rays, Every night I fall in love with the Wind and Her Ways. Split the day from the night, with the dwindling of Red Light. The Lady comforts me as I mull over my time; In the times of the saints, for the casting of Red rays, Every night, I fall in love with the Wind and Her Ways. Every night, I fall in love; every night, I fall in love. Every night, I fall in love with the Wind and Her Ways. Every night, I fall in love; every night, I fall in love. Every night, I fall in love with the Wind and Her Ways.
9.
Stone 02:46
Hear me, Heal me. How can I not cry, when the stones cry out for you? Hear me, Heal me. Centurions razed the city— Not a stone was left upon another, Not a stone was left upon another. And, you wept bitterly, as I weep with you now.
10.
There lies an island, in the middle of Greers Ferry Lake, Where the tremors of existence are only footsteps in the distance. The waters here are kind; I didn’t know you well, But here we shared our time. The friend between us, He’s a quiet man; He lives away from family in the North, the same as you, the same as you. Is there no way out? Is the sun burned out? Is there no way out? Is there no place for you, My friend? Systems within systems of faces— Was the earth alien to you? The city was not your home, but you moved Northeast alone. Determined not to leave, but you left on New Year’s Eve. Is there no way out? Is the sun burned out? Is there no way out? Is there no place for you, My friend? Is there no way out? Is the sun burned out? Is there no way out? Is there no place for you, My friend? My friend.

about

Big Takeover Magazine [Jan. 14th, 2021]

Album Premiere: Dover Lights by Dover Lights

Dover Lights, dark alternative music futurists from Arkansas, release their atmospheric, resonant, and transporting self-titled album tomorrow (January 15th) on vinyl and digital via Big Horse Records.

Big Takeover is pleased to host the premiere of the album in full one day before its official release.

Dover Lights is steeped in a night-world of visions, travels, and dreams illuminated by the sound of impressionistic rock guitars and synthesizers. Each song tells a story, although the meanings are heavily encrypted in elements from the natural world and biblical imagery — with lyrics sharing in the traditions of romanticism and magical realism of Jorge Luis Borges, William Blake, and Joseph Conrad.

The band, led by Daniel Brinker (lyricist/composer) and Andy Moore (instrumentalist/arranger), have created a multi-dimensional world entirely their own by incorporating sounds from the New Wave/post-punk spectrum, as well as the psychedelic folk of the sixties — with influences as diverse as Tears for Fears, And Also the Trees, The Church, Scott Walker, and Tim Buckley.

Instrumentally, a stark coldness pervades darkwave album opener “Prisoners”, but song lights up with Brinker’s emotively fiery vocal delivery.

“Memory Dissolves,” the LP’s second single, runs on propulsive post-punk bass line rhythms and Brinker’s sonorous vocals, while “Carruntoohil I” is a gentle reverie of glistening guitar refrain and a found-sound backdrop of flowing water.

The Church-like lead single “Three Women” is a dreamy reverie that continues with mellifluous acoustic guitar interplay and dusky, contemplative vocals.

A tense frisson hangs over the industrial-tinged “Howling Man,” that treads with a heavily measured pace and brooding vocals, but lifts up with buzzing and wavering synth notes.

Brinker reveals details about the album, confiding, “We live in the Ozark Mountains and take inspiration from the mountain territory which has incubated each and every song — even songs like “Prisoners” (concepts from Kierkegaard’s Purity of Heart is to “Will One Thing” contrasted with the Berlin Wall) and “Howling Man” (a mechanized decent into mental and spiritual disintegration; a song which sounds something like the nexus of Scott Walker and early Genesis-clad Peter Gabriel).”

“The album is an experience. Each song was written and recorded with the full body of work in mind. Similar to listening to a Bowie album, no two songs sound the same, but they’re all woven together through the vocals, the storytelling in the lyrics, and the tertiary colors in the guitar-work. Several songs on the album deal with spiritual desolation and the sense of being on fire, burning out of the confines of one’s own body.”

“It’s not all darkness, however; there’s a beauty in it all, and there are brighter songs like “Memory Dissolves” and “Three Women.” Several people have described the music as dystopian, and it may come across that way, but I never thought of it like that during the making of the album. It was not written as a reflection of the present time, but more as a look inward, facing darkness head-on — translated from personal to universal experience.”

“I’m a big fan of The Twilight Zone, and if you listen closely, you might hear sci-fi elements — sending out a transmission in outer space with the hope that someone somewhere might hear it. The album also deals with the loss of friends and old punk rock heroes from my hometown who died early from self-harm. The record is dedicated to Kyle Wilshusen, a neighbor I lost in 2015. The final song on the album, “Carrauntoohil II,” in particular, deals with his loss. I hope that this record will be a comfort for those who are trying to hang on. Whoever you are, you’re not alone.”

bigtakeover.com/news/AlbumPremiereDoverLightsbyDoverLights

YouTube: www.youtube.com/channel/UCJxkSk6TGJYfptCjua9xCaA

Facebook: www.facebook.com/doverlights

Instagram: www.instagram.com/doverlights_official/

credits

released January 15, 2021

Daniel Brinker - Vocals, Guitars, Synths, Programming
Andy Moore - Guitars, Programming
Ben Smith - Percussion/Drums
Warren Dickey - Bouzouki

Lyrics: Daniel Brinker

Produced & Recorded by Andy Moore & Daniel Brinker at Big Horse Studio & The Fairbanks House
Mixing: Daniel Brinker, Andy Moore, & Darian Stribling at Blue Chair Studio
Mastering: Justin Weis at Trakworx
Photography: Brandon Hoult
Visual Design: Tyler Orsak

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Dover Lights

“A hybrid machine with organic parts, like a vision of the future from a distant past.” - Marty Willson-Piper (The Church)

“A singular sound. Dark and elegant.” - James Eller (The The)

"A complex work, both musically and lyrically... The band... recognizes very diverse influences, from English sixties psychedelia... even industrial music." — El Garaje de Frank Magazine
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