Following on from his label debut singles The Worst Sight That I’ve Seen So Far and Losing the Matriarch, Debris Discs has announced The Empress Way EP, a collection of three tracks heralding the release of the full Post War Plans album.

Debris Discs is the solo venture of former Coves & Caves and My Side of the Mountain member James Eary.

Nestled up in the hills of the High Peak in Derbyshire, James contrasts rural, understated song writing with an arsenal of dusty synths, drum machines, effects pedals and a trusty old telecaster. The result is a kind of windswept, cinematic yet lo-fi soundscape with a resolutely pop sensibility that has earned Debris Discs positive responses from both fans and critics alike.

Oleada Indie described James’ previous single release as “an interesting mix of acoustic and electronic elements that creates a unique and emotionally engaging soundscape” while Artistic Echoes described it as “synthpop at its best.”

The Empress Way EP features one original piece and two very different but equally innovative remixes of recent single Losing the Matriarch. There's a bittersweet thread across the three tracks that connects the reimagined dreams of James' Grandfather in his youth, through to his own reflections of family members as they reach the end of days.

The EP’s first track – Post War Plans - is also the title of the album proper. James explains the inspiration behind its lyrical themes and distinctive production:

“Lead track Post War Plans was inspired by a letter my Grandpa wrote during WW2 in reply to a question from his brother. ‘You ask what are my post war plans’?

“His response is typical of the bone-dry humour and wistfulness found throughout his wartime letters: ‘First, to be alive post war; second, a good holiday (not camping out either); third, the best thing available; fourth, look around for something better; fifth, - a wife. Short and sweet, eh?’

“For the song, I reimagined this passage as a kind of matter-of-fact survival guide. A set of instructions left behind by my Grandpa, for us all to follow. He’s questioning the futility of war and whether he’s going to make it through. This plan is his coping mechanism.

“Musically I was listening to a lot of sixties songs at the time of recording and wanted to try and get that ‘tic tac’ bass sound. I just about managed it by stuffing cotton wool from my children’s craft set under the bridge of my bass guitar. It had the dual benefit of muting the strings to make a tight, percussive sound - and helped tidy up the mess left behind by the kids. It’s the kind of creative yet practical solution I think my Grandpa would’ve approved of.”

With the album’s title track providing a powerful showcase for the album’s collection of twelve songs, the rest of the EP sees James enlisting the help of some friends:

“The other tracks on the EP are remixes of my last single Losing the Matriarch by two of my favourite artists. Magic Arm completely reimagines the song using a real grand piano and an assortment of twisted and distorted drum snares and found sounds. The result is dark, foreboding and cinematic, starkly foregrounding the vocals and lyrics to really build the emotion.

“Rodney Cromwell takes the original's synth solo as his starting point, building it up into a lush, intricately textured wash of ambient electronica. Liberal helpings of melodica, WW2 samples and stuttering beats create a sonic reverie to happily get lost in.”