There was a time when The Third Eye Foundation was the mirror of the world from which the group drew its substance. But the reflection faded and dirt accumulated so it only provided deformed images and gradually became the world’s shadow. This willingness to look at and express images and words about humans and their environment has since been embodied in the completely open face of its founder, Matt Elliott. Thus, The Third Eye Foundation is a discrete entity, the opposite of what Matt Elliott may otherwise represent. The Third Eye Foundation is not a project based on openness. The Third Eye Foundation builds walls topped with barbed wire. The Third Eye Foundation captures you, locks you into its universe and keeps you there. It is no longer a question of finding a balance between dark shadows and light. Eight years ago already, The Dark already portrayed this state of affairs. Today, Wake The Dead is banging the last nails into the boards that make up the barricades. If you want to wake the dead, you have to get into the right shape and frame of mind. You need to accept that black is the only valid colour and that it is futile to rely on your imagination to create a way out. Death is a prison for the living. To enter and abandon yourself is a way of temporarily waking those whose absence haunts your memories. Wake The Dead is like a key which attempts to open the doors of memory. Waking the dead is not a question of meaning but rather of sensations. Free will and free thought have no place here – in the universe of The Third Eye Foundation, humans are no more than a simple product of their environment. This may seem extremely violent and dehumanizing but it is not the case at all. We just need to get rid of our certainties, empty ourselves and put ourselves on the same level as those we consider to be “the other”. And that’s probably the greatest quality of an album like Wake The Dead. Its abstract compositions are without a format and thus implicitly participate in the deconstruction of the imaginary, of all logical forms which we sometimes cling to without even knowing why. It offers something essential in its unpredictable approach – the possibility of letting go without this ever being judged as an admission of weakness. Comfort is sometimes found in wandering and uncertainty. In a way, Wake The Dead is an album without beginning or end. It’s a journey that never really ends like an infinite but unstable loop that lets itself be invaded by the thousand details revealed with each listen. Its melodic variations instil themselves without us realizing and then progressively change our perception of the work as might a story that seems to repeat itself but in reality is never really the same. This means the album could only be instrumental. Words have no place here except to confuse matters a little further. And the 40 minutes of throbbing, hypersensitive dubstep that make up the record are not aimed at sending a message to the mind.