Bandcamp Two of the eight songs on this debut were taken apart in the studio and put back together there. The Swiss trio threw out an entire song during the sessions and wrote the opener in its place, and the closer was the last piece they finished, after discarding its whole second half.
Those two are also, by a distance, the tracks that move the most. That is the useful thing to know about Dreams Lie In The Eagle’s Eye.
The two ends
“The Birds Don’t Sing (They Screech in Pain)” covers twenty seven decibels between its quietest and loudest passage. “We Hope We Heal” at the other end covers twenty five. Nothing in between gets past eighteen, and the narrowest, “Rebuild What Was Lost”, sits under ten.
The opener earns its range honestly. It begins soft and keeps tightening until Lily Lord stops singing and starts screaming, which is the band’s own description of it and is audible as exactly that. The closer spends its first half on vocals and its second on an instrumental passage that goes somewhere else entirely.
So the record is bracketed by its two most unstable pieces, and both of them got that way because the band refused the version they walked in with.
A trio that leans hard on the bottom
Across all eight tracks, between twenty one and thirty percent of the energy sits below 250 Hz. That is a lot, consistently, and it is the clearest fingerprint the record has.
Köbi Ferber is the band’s second bassist, in since the summer of 2025 after Claudio played the two EPs. “Plumas Y Espadas Para Luchar” was tracked across that changeover, and whoever you credit for it, the low end here is a structural decision rather than a texture.
Two languages, two different jobs
Lily Lord sings in Spanish on “Plumas Y Espadas Para Luchar” and “En Donde Me Perdí” and in English from the fourth track onward. The band have said the choice is about which language carries a given feeling.
“En Donde Me Perdí” is the loudest track on the album and the one with the least room above its own average level, the only one of the eight under eleven and a half decibels of headroom. On a record that otherwise keeps a lot of air, the Spanish track is the one pushed hardest into the red.
The darkest corner and the strangest minute
“Carry On What’s Left Of Me” has the lowest spectral centre on the record at 1907 Hz, the most low midrange and the least treble. It sits seventh, the second longest thing here, and it is where the post-rock side of this band is most obvious.
One track earlier, “Drunken Dream” closes on a spoken and half sung passage that the band themselves call unusual for the album. It is the one moment where the record sounds like it might go somewhere it has not been, and it arrives after the song is effectively over.
Where it leaves me
Four out of five. A debut that already sounds like a specific band rather than a promising one.
The bilingual writing is structural, the bass carries real weight, and the sequencing has a shape that survives being measured. Two EPs inside their first year and then this is a fast three years of work.
The reservation is the middle. “Where Do You Lead”, “Rebuild What Was Lost” and “Drunken Dream” run within thirty five seconds of each other in length, inside one decibel of each other in average level, and with peak to average between twelve and twelve and a half on all three. After the opener has gone as far as it goes, that stretch is the band settling rather than building, and “Drunken Dream” only breaks out of it at the very end.
Start at the end with “We Hope We Heal”, then go to the opener. The record makes more sense from its edges inwards.
Eight tracks, just under thirty nine minutes. The headroom above the average level tells the clearest story: the opener keeps over fifteen decibels of it, more than anything else here, and from the third track onwards the album settles between eleven and twelve and a half and stays there.
The low end is the constant. Every track puts between twenty one and thirty percent of its energy below 250 Hz, which is heavy and unusually consistent for a record that otherwise varies this much.
“En Donde Me Perdí” sits at the top of the level scale and the bottom of the headroom scale, the only track under eleven and a half. “Carry On What’s Left Of Me” is the darkest by a clear margin, with the spectral centre at 1907 Hz against 2067 to 2286 everywhere else, the most low midrange and the least treble.
