We are very proud to say this album was released as Second Nature #23 originally released in the Summer of 2000.

"A breathtaking album, both sonically and visually, which deserves to be recognized as greater than the sum of its parts." Exclaim Magazine

"It’s a shame that many people will not understand what’s going on here because this band is so talented and wonderful."
Hangin' Like A Hex Magazine

Mike Law: "The Wind Blew All the Fires Out" is an album that someone asks me about nearly every day when I'm on tour with my new band. Almost every single day and it came out twenty years ago when I was a kid! It is like a cult record for cult records, which really, if you think about the album, is perfect.
This was not something I could have chosen to make, but I was compelled to make, though I know that is a cliche thing to say it's true. It was a serious, serious, endeavor to me. It was demoed on a cassette 4 trk, played over and over in my head and explored by the band in practice until it manifested into some kind of odd time signature psychedelic post-hardcore nightmare. Matt could play drums to every single strange, anxiety dream guitar part I could throw at him and Chris held it all together like he was the molecule and we were his electrons. I love Chris' playing on this album, it is perfect.
This was intended to be a disorienting album and not necessarily pleasant to listen too. We meant it to be full of changes and parts that sometimes only happened once but never be cerebral, it wasn't intellectual and as I realized later, like Burroughs' cut ups, they didn't have a reason because we knew when they were right. The album became the chaos of the total acknowledgment of knowing you are trapped in anger, anxiety and depression but refusing to accept it, thrashing in the water not to drown, sometimes violently, sometimes to try to save others... though I didn't know that's what it was until years later.
I did know however that I wanted every dichotomy to exist in the record and maybe even within each track because that is what I heard when I imagined the first songs written for the album. I heard loud/quiet, melodic/dissident, choppy/flowing, frantic/calm, manic/forlorn. It went from unpleasant to triumphant in two measures. With the first few songs I knew we were on to something. We were even beginning to take on those attributes live. One of the guys in a band we played with a lot, Cave In, once said to me when we were on tour together, "I never know if you're going to be the best band I've seen since the last time you were the best band I've seen or if you're going to totally alienate everyone in the room and be... awful." I know what he meant now more than then. When working on the record in our apartment I knew I wanted that false ending to the album with the song "The Ocean Vs. The Sand" and the juxtaposition of including an aspect of each song within the album closer "Double Point/Double Switch" even if those things would be disorienting to people, I still wanted them. Maybe they'd think it was the worst album they'd heard in years. I knew the not quite satisfying melodies and atonal vocals were always just bordering on having a payoff that never arrives. Surprisingly, many reviewers would get it right that we were a little too obtuse for those who didn't pay close attention and the fact that they were so on point surprised me. But to thrash all that love and fury together in an ugly way was who I was at that moment. I also chose to name the band EULCID which probably only the band members pronounce correctly so it wasn't like I was making choices that would lead to us having fans and a big following... but for a band trying to make The Wind Blew All The Fires Out that is kind of ideal isn't it? Off-rock for no one but ourselves, the best and worst band around."


Original reviews, 2000

Exclaim Magazine
Hailing from the fertile musical grounds of Boston, MA, Eulcid's debut full-length surpasses all the potential that their Crane EP demonstrated while growing in leaps and bounds as musicians and as songwriters. The Wind Blew All the Fires Out is a simply superb album comprised of jagged riffs that swirl, scrape and scratch; discordant leads that weave their way in and out of the melodic/screamed vocals, which crack and falter with the perfect amount of emotion; and inspired musicianship that walks the line between understated and complex. While comparisons to the Washington, DC's '90s indie rock/post punk movement are not without justification, and plays a large influence in their sound, Eulcid is by no means derivative, building upon that foundation and surpassing it. Tracks such as "Single Sender," "Reaction Impulse Theory" and "Perfect" are as much indie-based noise rock as they are journeys through divergent sonic soundscapes that seem to flow together (as all the tracks do throughout the album) all the while building upon swirling guitars that break into post punk fury and discordant excess, yet retain an underlying thread of melody throughout. Eulcid's greatest strength, however, may be their ability to explore divergent tangents within the context of any given song, be it harsh, restrained or even progressive, without ever losing their way. Regardless, The Wind Blew All The Fires Out is a breathtaking album, both sonically and visually, which deserves to be recognised as greater than the sum of its parts. (Second Nature)

Initial Records
One of the most impassioned and powerful releases of 2000. Genre-defying and unbelievable.

Status Magazine
Hot damn, this rocks my sorry ass. Score this puppy.
EULCID’S The Wind Blew All The Fires Out is unquestionably a remarkable album, firmly standing on its own merits and music. A throwback of sorts to the post-rock/punk of early ’90s DC-inspired fury and DIY ethos, yet somehow never dating itself, The Wind Blew All The Fires Out retains all the energy and aggression of its predecessors yet reveals itself as an impeccably crafted and thoughtful endeavor. Utilizing layers of melodies, moods and tapestries of sound beneath the initial crash of EULCID’s fury, interwoven with meticulous playing that is at times restrained and at others nearly frenzied, The Wind Blew All The Fires Out swirls in discordance excess while retaining melody and hooks, all the while being driven by the faltering yet perfect screams of Law. The Wind Blew All The Fires Out is not as much a traditional album as it is an adventurous and remarkable sonic journey posing as one.

Heart Attack
Eulcid play brilliant technically rocking hardcore with sung vocals that are unique and of their own sound. Potentially the best album of the year that we won't collectively realize for five years.

Impact Magazine
Eulcid • The Wind Blew All The Fires Out • Second Nature • The liner notes state that this album is for use with headphones. I'm greatly inclined to agree with them. There's a lot of studio trickery and progressive experimentation here, such that you can't put it in the context of songs but rather as a whole, a complete musical composition. Eulcid is a band that aspires to artistry, so definitely give this a listen with headphones on. This is your indy-punk rock Pink Floyd.