No way there’s no way
There’s no way hey
No way 
Say there’s no way hey
No way

I'm dying inside I'm naked 
The summer's burning 
But I know I'm whispering 
"Follow the skies 
The devil is white"
It’s nothing of me
But it’s all I can make today

No way there’s no way
There’s no way hey
No way 
Say there’s no way hey
No way

Your fate coming
Death from katana
We fly to Japan
But we’ll never make it
To France a station 
To renew your cover
I will recover, I will recover

No way there’s no way
There’s no way hey
No way 
Say there’s no way hey
No way

I’ll find you
It’s all I need to do

The sky in disguise won’t matter
It doesn’t matter, it don’t matter to me
The sky, the sky, doesn’t matter, it doesn’t matter

The sky, doesn’t matter, doesn’t matter, the sky
The sky, doesn’t matter, too late, it’s too late! 

No way there’s no way
There’s no way hey
No way 
Say there’s no way hey
No way

Vocals, Guitar, Synth, Lyrics, Programming: Philip Obando
Mastered at Casa Grande Studios

Contact: fullonfullcolor at gmail.com

We are a collective of mercurial technicians creating retro-futurist dance music with lyrical fixations on science fiction, post-structualist theory, human culture, and the modern world. 

Vince Chic and Casio Crone met many years ago at a Wolf Eyes show in Boston, and became fixtures (both performing and spectating) in basement noise shows in New Hampshire. Full Color came about in 2011 as the two wanted to continue to create together after the dissolution of their recent synth-punk project, Culture Void. As the band continued, they brought on other valuable collaborators, including Galaxy Channel. Now with Casio Crone having moved to the opposite coast, Full Color continues as Vince Chic leading the project with many other collaborators. 

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Headquarter : @thathard-magazine

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Echolust is an American band formed in Long Beach, California in 2011. The band consists of musicians Philip Obando, Armond Angeles and Tony Lee Jackson. Together, they recapture and reinterpret important eras of subculture essence that has musically influenced them their entire lives, through personal point of views, perspectives, experiences, gains and losses. 



Philip was about to give it all up, annoyed and frustrated with the lack of finding the right people to write music with. One summer, upon recording a few demos in 2012, he met Armond through friends at an Echo and The Bunnymen show in Los Angeles. Armond did bass work for a Smiths-like sounding band. But after a few recorded tracks, there was no more motion and movement and they disbanded soon thereafter. Philip and Armond exchanged information and a couple months later started recording songs. The goal was to create a five track EP release. However, instead of an EP, they decided to write an entire LP record, and soon sought the talents of a lead guitarist. While the music that was being created sounded great, there was an element missing. Philip told Armond that the tracks needed a sound that was more distorted, something of a mixture of Cocteau Twins, Slowdive and My Bloody Valentine. One night, Philip was Dj-ing at a small dive bar when he met Tony. During a Cocteau Twins track, Tony approached Philip and they soon started talking about music. That's when Philip knew he was the right guy for the job. Tony's musical background consists of having recorded work for bands, Pile Up and Russian Bones, however stalled in 2001 due to death, drug addiction and personal bickering. But soon, all three were recording new material. 



All three bring very specific elements to the table. Armond's basslines are reminiscent of a beloved 80's gloomy English Post Punk era, cold, delayed and distant, Tony's experimental shoegaze textures captures a wildly beautiful but contained distortion, while Philip's guitar, synth and lyrics tell stories about a sense of personal loss, wonder and moving on. 

It’s been one of the more curious things about Los Angeles: Here, in the land of sun, sand and self-importance, a vital vein of post-punk music — and its shoegaze, darkwave and industrial variants — has always flowed freely. Echolust are among the latest to indulge in shadowy soundscapism. The Long Beach duo of Philip Obens and Armond Angeles this spring released a seven-song collection titled “Fourier Series” that sounds like it came from some gloomy U.K. city in the 1980s. Which is a good thing for fans of Joy Division, the Cure, Echo & the Bunnymen and inhabitants of that musical lineage. Obens handles the singing, guitar and synths here, Angeles the bass, and together they’ve nailed the foreboding but cathartic beauty of the music.

— Kevin Bronson, Buzzbands.la 

Heartwarming music imitating dark 80's sounds

Vex

Echolust