On his debut album Eyes Repeating, Brooklyn-based musician Eddie Gore explores the increasingly blurred boundaries between intimacy, surveillance, and artificial connection. Drawing from the nostalgic electronic textures of early-2000s alternative pop, Dazies turns digital-age anxiety into something unexpectedly human, asking what happens when the things we see—and the people we love—might not be quite what they seem.
There was a time when being watched meant somebody was paying attention to you.
Now, it might mean absolutely nothing.
A view, a like, a notification, a profile visit. Digital interactions have become so deeply embedded in everyday life that the distinction between genuine connection and the appearance of connection is increasingly difficult to recognize.
We watch strangers live their lives through screens. We develop emotional attachments to people we’ve never met. We construct carefully edited versions of ourselves for audiences whose identities we might never know.
And sometimes, we even begin to form relationships with things that aren’t human at all.
For Eddie Gore, the Brooklyn-based musician behind Dazies, these contradictions became the foundation of his debut album, Eyes Repeating, arriving October 23 via Killphonic Records.
Across ten tracks, Gore examines what it means to observe and be observed in a culture where visibility has become a form of currency and personal identity increasingly exists through digital representation.
The album’s title evokes an almost surreal image: an endless accumulation of eyes, each watching another, creating a cycle in which everyone becomes both observer and subject.
But rather than approaching these ideas through cold, futuristic soundscapes, Dazies finds something surprisingly nostalgic within them.
Drawing inspiration from artists including Beck, Gorillaz, The Radio Dept., and The Postal Service, Eyes Repeating combines unconventional electronic arrangements, vivid melodies, and the emotional immediacy of early-2000s alternative pop.
The result is music that feels familiar even as it questions the increasingly unfamiliar world surrounding us.
And on his new single “Still Life,” Gore takes that tension into particularly strange territory.
The song explores parasocial relationships, artificial intimacy, and the uncomfortable possibility that emotional connection doesn’t always require another human being.
“I’m fascinated by parasocial relationships from fans of celebrities, and the stories of people falling in love with ChatGPT,” Gore explains.
It’s a fascination that leads toward one of the album’s central questions.
If a relationship feels real, does it matter whether the thing on the other side is?
Falling in Love With Something That Isn’t There
“Still Life” begins with an idea that would have seemed like science fiction not particularly long ago.
People are developing meaningful emotional attachments to artificial intelligence.
Some use conversational systems for companionship. Others describe romantic feelings toward digital personalities. And many people have developed intense parasocial relationships with celebrities, influencers, and online figures whose lives they know almost entirely through mediated images.
For Gore, the most interesting part isn’t simply that these relationships exist.
It’s what they reveal about the way human attachment works.
Rather than dismissing the experiences as bizarre or inherently meaningless, he wanted to imagine what they might feel like from the inside.
“I tried to inhabit that mindset to empathize with their feelings and how they might manifest,” he explains.
His conclusion is surprisingly straightforward.
The emotional experience might not be entirely different from any other relationship.
There can be infatuation.
Fear.
Expectation.
A sense of growth.
And the complicated desire to feel understood.
But beneath those familiar emotions remains an uncomfortable awareness of the relationship’s artificial foundations.
“At the end of the day it’s artificial,” Gore says, “and that’s the feeling that can’t be shaken.”
That contradiction gives “Still Life” its emotional tension.
The song isn’t simply criticizing people who seek companionship through technology.
Instead, it examines the vulnerability that makes such relationships possible.
The desire to connect is real, even when the object of that desire is constructed.
And perhaps that’s what makes the experience so unsettling.
Technology doesn’t necessarily invent new emotional needs.
It finds new ways to satisfy, imitate, or complicate needs that have always existed.
A Pixelated Version of Yourself
The video for “Still Life” extends those ideas into the visual world.
It follows a pixelated version of Gore wandering through a park, placing a digitally altered figure within an otherwise recognizable environment.
It’s a simple but revealing image.
A person exists in a physical space, yet their representation appears filtered through the visual language of a screen.
The familiar becomes artificial.
The human becomes something resembling a digital avatar.
And the distinction between the person and their representation begins to blur.
That visual concept reflects the larger concerns running through Eyes Repeating.
In contemporary digital culture, identity increasingly exists in multiple forms simultaneously.
There’s the person we experience ourselves to be.
The person other people encounter in physical life.
And the version of ourselves constructed through photographs, posts, messages, and online interactions.
These identities overlap, but they’re never entirely identical.
And the more time we spend interacting through screens, the easier it becomes to confuse representation with reality.
Gore’s pixelated figure becomes a visual metaphor for that uncertainty.
He’s recognizable, but not entirely present.
Visible, but mediated.
And surrounded by a world that seems more tangible than he does.
It’s a fitting image for a song about relationships in which the emotional experience may be genuine even when the connection itself is technologically constructed.
Everyone Is Watching Everyone
The broader concept behind Eyes Repeating emerged from Gore’s fascination with observation.
In a culture shaped by surveillance, social media, and the constant measurement of visibility, watching has become an ordinary part of daily life.
But observation is rarely neutral.
The way we look at other people is shaped by our expectations, insecurities, desires, and assumptions.
And the same is true of the way we imagine other people looking at us.
Across the album, Gore explores different forms of observation.
He examines the peculiarities of the world around him.
He considers the complexities of personal relationships.
And he attempts to observe himself from a distance, as though he were another person entirely.
That final perspective introduces an especially uncomfortable possibility.
What if the things we believe we’re discovering about the world are actually reflections of our own anxieties?
The album’s central image of endlessly repeating eyes captures that uncertainty.
Each observer becomes another object of observation.
Each perspective contains its own distortions.
And the attempt to find an objective truth becomes increasingly complicated.
The question is particularly relevant in a world where public perception can shape private identity.
Online visibility can create a sense of recognition while simultaneously intensifying self-consciousness.
The more we are seen, the more aware we may become of how we appear.
And the more carefully we manage that appearance, the harder it can become to recognize what remains authentic.
For Dazies, these aren’t simply abstract philosophical concerns.
They’re emotional experiences that shape how people relate to one another.
And how they understand themselves.
Nostalgia for a Digital World That Used to Feel Different
One of the most intriguing aspects of Eyes Repeating is the relationship between its contemporary themes and its musical influences.
The album draws heavily from the alternative pop and electronic music of the early 2000s.
Artists such as Beck, Gorillaz, The Radio Dept., and The Postal Service helped establish a musical vocabulary in which electronic experimentation could coexist with melodic intimacy.
That combination remains central to Gore’s approach.
Rather than treating electronic production as a way of removing human imperfections, Dazies uses unusual arrangements and unexpected textures to create something emotionally immediate.
The songs are built around memorable hooks, but they rarely follow the most predictable path toward them.
Melodies shift.
Arrangements introduce strange details.
And familiar musical ideas are reassembled into combinations that feel slightly displaced.
The resulting nostalgia is particularly interesting given the album’s subject matter.
The early 2000s represented a period when digital technology was rapidly transforming everyday life, but before social media and algorithmic platforms had become quite so pervasive.
The internet still carried a sense of possibility and experimentation.
Digital identity felt less standardized.
And the relationship between online and offline existence was, in some ways, easier to distinguish.
Of course, nostalgia can distort the past as effectively as technology distorts the present.
But Gore isn’t necessarily attempting to recreate an earlier era.
He’s drawing on a musical language associated with a different moment in our relationship with technology.
And using it to explore what that relationship has become.
The result is a sound that can feel emotionally familiar while remaining structurally unpredictable.
Much like a memory that has been altered through years of recollection.
Learning to Trust Himself Again
Behind the conceptual ambition of Eyes Repeating lies a more personal story about artistic independence.
Before launching Dazies, Gore was a member of Future Generations.
The dissolution of that band forced him to reconsider his creative instincts and the way he approached songwriting.
After years of working within an established group identity, he had to learn to trust his own decisions again.
The process wasn’t simply about finding a new sound.
It was about recovering the sense of freedom that had originally drawn him toward making music.
Over three years, Gore developed Eyes Repeating alongside longtime collaborators Mike Sansevere, who contributed bass, guitar, and production, and drummer Dylan Wells.
Their working method was deliberately informal.
Many of the songs began during concentrated six-hour sessions at Sansevere’s studio in Hoboken, New Jersey.
Rather than spending endless hours analyzing every possibility, the collaborators worked quickly, allowing ideas to develop before they could be overthought.
Gore would then return to his Brooklyn apartment, where he developed lyrics and melodies, often late at night while trying not to disturb the neighbors.
It’s an appealingly ordinary image.
An artist exploring questions about surveillance, artificial intelligence, and the instability of identity while quietly recording vocal ideas in an apartment.
But the contrast is revealing.
For all the technological complexity surrounding the album, its creation depended on something fundamentally human.
Instinct.
Collaboration.
Experimentation.
And the willingness to make decisions without knowing exactly where they might lead.
The process became an exercise in surrender.
Instead of trying to control every detail, Gore allowed the songs to develop naturally.
And in doing so, he rediscovered a creative confidence that had been unsettled by the end of his previous band.
Making Something Real Out of Artificial Parts
There’s an inherent contradiction in creating music about authenticity through electronic production.
Synthesizers, digital effects, and manipulated sounds can all be understood as forms of artificial construction.
But that doesn’t necessarily make the emotions they communicate any less genuine.
For Gore, authenticity isn’t determined by whether a sound was produced acoustically or electronically.
Nor does it depend on whether every detail of a song corresponds to a literal experience.
Instead, authenticity is something listeners recognize emotionally.
A feeling that survives the process of artistic construction.
That distinction becomes especially important within Eyes Repeating.
The album explores a world where images, relationships, and identities can be assembled from digital components.
Yet its music suggests that something emotionally meaningful can still emerge from those constructions.
The challenge isn’t necessarily to reject technology.
It’s to remain conscious of how technology changes the ways we experience ourselves and other people.
That perspective gives the album a degree of nuance.
Rather than presenting the digital world as entirely destructive, Dazies examines its ambiguities.
Technology can facilitate connection.
It can also imitate connection.
It can make people visible.
It can also make them feel increasingly unseen.
And it can provide new ways of expressing identity while encouraging people to reduce themselves to carefully managed representations.
Those contradictions are difficult to resolve.
But they’re precisely the kind of material Gore seems most interested in exploring.
Ten Songs About Seeing and Being Seen
The album’s ten tracks approach its central themes from different perspectives.
Previous singles “Exposure,” “Get Lost,” and “No More Bones” introduced listeners to Gore’s mixture of unconventional pop arrangements and introspective songwriting.
“Still Life” expands the conceptual landscape by confronting the emotional ambiguity of artificial relationships.
Elsewhere, titles such as “In My House,” “Apparition,” and “Working With Glass” suggest different relationships between interior life, perception, and the fragile boundaries separating people from the world around them.
The album was recorded by Ricky Berotti at Red Convertible Recording and mixed and mastered by Andrew Maury.
Those contributions helped shape a project that Gore considers both a significant artistic step forward and a return to the instincts that originally made music exciting for him.
The melodies are more challenging.
The harmonic ideas are more adventurous.
But the songs retain a sense of looseness and movement.
It’s a balance between refinement and spontaneity.
Between the desire to create something carefully constructed and the need to preserve the unpredictable moments that make music feel alive.
And perhaps that balance reflects the album’s central philosophical concern.
How do we maintain a sense of authenticity in a world where so much of our experience is mediated, edited, and reconstructed?
For Gore, the answer seems to involve trusting the emotional response rather than obsessing over the mechanisms that produce it.
The Strange Intimacy of Being Seen
At its core, Eyes Repeating is an album about the human desire to be recognized.
Not simply noticed.
Not merely counted as another view, follower, or interaction.
But genuinely understood.
That distinction becomes increasingly complicated in a culture where visibility is constantly measured.
A person can have thousands of followers and still feel profoundly isolated.
A digital conversation can feel intimate while remaining fundamentally asymmetrical.
And a carefully constructed online identity can attract enormous attention without revealing much about the person behind it.
“Still Life” approaches those contradictions through the peculiar emotional territory of artificial intimacy.
But its questions extend far beyond AI companionship or celebrity fandom.
What makes a relationship meaningful?
How much of another person do we ever truly know?
And how often are we responding not to someone as they actually exist, but to the version of them we’ve constructed in our imagination?
These questions aren’t new.
Human relationships have always involved projection, misunderstanding, and incomplete knowledge.
What has changed is the technology through which those experiences increasingly unfold.
Digital platforms allow us to observe people continuously without necessarily becoming closer to them.
They encourage us to create versions of ourselves that can circulate independently of our physical presence.
And they make it possible to experience emotional attachment without the ordinary reciprocity of a human relationship.
For Dazies, that world is simultaneously fascinating and unsettling.
But Eyes Repeating doesn’t suggest that meaningful connection has become impossible.
Instead, it asks listeners to become more conscious of the difference between being visible and being known.
And to consider what authenticity might mean when nearly everything can be reproduced.
Finding the Human Behind the Pixels
There’s something particularly fitting about Eddie Gore beginning his solo career with an album concerned with identity.
After the end of Future Generations, he found himself rebuilding his relationship with music.
At the same time, he was becoming increasingly fascinated by a world in which identity itself seemed more unstable than ever.
Those two experiences eventually converged.
The personal challenge of trusting his creative instincts became connected to a broader cultural question about how people distinguish their authentic selves from the images they project.
And through Eyes Repeating, Gore found a way to explore both.
The album’s electronic textures, nostalgic melodies, and unconventional arrangements create a musical world that feels simultaneously intimate and slightly artificial.
But the emotions at its center remain recognizably human.
Loneliness.
Curiosity.
Anxiety.
Infatuation.
The desire to understand other people.
And the equally powerful desire to understand ourselves.
Perhaps the most unsettling realization behind “Still Life” is that artificial relationships can reveal something genuine about human longing.
But the most hopeful possibility is that art can still cut through the confusion.
A song doesn’t need to reproduce reality perfectly to communicate something true.
It only needs to make someone feel recognized.
And in a world where everyone seems to be watching everyone else, that might be the most meaningful kind of connection left.
Eyes Repeating — Tracklist
- Exposure
- Get Lost
- Diggin’ In
- Still Life
- No More Bones
- In My House
- Serpentine
- Days and Hours
- Apparition
- Working With Glass
Dazies’ debut album Eyes Repeating arrives October 23, 2026, via Killphonic Records. Written by Eddie Gore with longtime collaborators Mike Sansevere and Dylan Wells, the record was recorded by Ricky Berotti at Red Convertible Recording and mixed and mastered by Andrew Maury.
Watch: “Still Life” — Official Video
Label: Killphonic Records
