Closer To Grey is the fifth studio album of Portland electronica/synth band Chromatics - the first album the band released since 2012.
After devoting his energy to Chromatics following work on Twin Peaks: The Return, Jewel is once again flanked by the sylvan vocalist Ruth Radelet plus Adam Miller and Nat Walker for a prime sort of imaginary soundtrack album, replete with Hitchcock-style movie poster artwork and movie-style rear sleeve credits, not to mention the meticulously vintage-sounding music.
So, in lieu of the fabled ‘Dear Tommy’ (which was finished and pressed up in 2015, but all copies were destroyed by Johnny Jewel not long after) the band serve up a nocturnal thriller’s worth of neatly groomed songcraft steeped in classic, moody pop strains, from synthy elan to more psychedelic, avant styles that feel like John Carpenter meets Scott Walker, and a swaggering shoegaze cover of The Jesus And Mary Chain’s ‘On The Wall’, and of course their opening take on ‘The Sound of Silence’, redressed in the airy, valdo-smushed L.A.-style they’ve come to own over the past decade.
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Closer To Grey is the fifth studio album of Portland electronica/synth band Chromatics - the first album the band released since 2012.
After devoting his energy to Chromatics following work on Twin Peaks: The Return, Jewel is once again flanked by the sylvan vocalist Ruth Radelet plus Adam Miller and Nat Walker for a prime sort of imaginary soundtrack album, replete with Hitchcock-style movie poster artwork and movie-style rear sleeve credits, not to mention the meticulously vintage-sounding music.
So, in lieu of the fabled ‘Dear Tommy’ (which was finished and pressed up in 2015, but all copies were destroyed by Johnny Jewel not long after) the band serve up a nocturnal thriller’s worth of neatly groomed songcraft steeped in classic, moody pop strains, from synthy elan to more psychedelic, avant styles that feel like John Carpenter meets Scott Walker, and a swaggering shoegaze cover of The Jesus And Mary Chain’s ‘On The Wall’, and of course their opening take on ‘The Sound of Silence’, redressed in the airy, valdo-smushed L.A.-style they’ve come to own over the past decade.
Closer To Grey is the fifth studio album of Portland electronica/synth band Chromatics - the first album the band released since 2012.
After devoting his energy to Chromatics following work on Twin Peaks: The Return, Jewel is once again flanked by the sylvan vocalist Ruth Radelet plus Adam Miller and Nat Walker for a prime sort of imaginary soundtrack album, replete with Hitchcock-style movie poster artwork and movie-style rear sleeve credits, not to mention the meticulously vintage-sounding music.
So, in lieu of the fabled ‘Dear Tommy’ (which was finished and pressed up in 2015, but all copies were destroyed by Johnny Jewel not long after) the band serve up a nocturnal thriller’s worth of neatly groomed songcraft steeped in classic, moody pop strains, from synthy elan to more psychedelic, avant styles that feel like John Carpenter meets Scott Walker, and a swaggering shoegaze cover of The Jesus And Mary Chain’s ‘On The Wall’, and of course their opening take on ‘The Sound of Silence’, redressed in the airy, valdo-smushed L.A.-style they’ve come to own over the past decade.
Closer To Grey is the fifth studio album of Portland electronica/synth band Chromatics - the first album the band released since 2012.
After devoting his energy to Chromatics following work on Twin Peaks: The Return, Jewel is once again flanked by the sylvan vocalist Ruth Radelet plus Adam Miller and Nat Walker for a prime sort of imaginary soundtrack album, replete with Hitchcock-style movie poster artwork and movie-style rear sleeve credits, not to mention the meticulously vintage-sounding music.
So, in lieu of the fabled ‘Dear Tommy’ (which was finished and pressed up in 2015, but all copies were destroyed by Johnny Jewel not long after) the band serve up a nocturnal thriller’s worth of neatly groomed songcraft steeped in classic, moody pop strains, from synthy elan to more psychedelic, avant styles that feel like John Carpenter meets Scott Walker, and a swaggering shoegaze cover of The Jesus And Mary Chain’s ‘On The Wall’, and of course their opening take on ‘The Sound of Silence’, redressed in the airy, valdo-smushed L.A.-style they’ve come to own over the past decade.
Limited Edition Blood Red Vinyl. Produced & Mixed By Johnny Jewel. Artwork By Johnny Jewel. Mastered By Mike Bozzi At Bernie Grundman Mastering Vinyl Cut By Bernie Grundman In Hollywood
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Closer To Grey is the fifth studio album of Portland electronica/synth band Chromatics - the first album the band released since 2012.
After devoting his energy to Chromatics following work on Twin Peaks: The Return, Jewel is once again flanked by the sylvan vocalist Ruth Radelet plus Adam Miller and Nat Walker for a prime sort of imaginary soundtrack album, replete with Hitchcock-style movie poster artwork and movie-style rear sleeve credits, not to mention the meticulously vintage-sounding music.
So, in lieu of the fabled ‘Dear Tommy’ (which was finished and pressed up in 2015, but all copies were destroyed by Johnny Jewel not long after) the band serve up a nocturnal thriller’s worth of neatly groomed songcraft steeped in classic, moody pop strains, from synthy elan to more psychedelic, avant styles that feel like John Carpenter meets Scott Walker, and a swaggering shoegaze cover of The Jesus And Mary Chain’s ‘On The Wall’, and of course their opening take on ‘The Sound of Silence’, redressed in the airy, valdo-smushed L.A.-style they’ve come to own over the past decade.
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Closer To Grey is the fifth studio album of Portland electronica/synth band Chromatics - the first album the band released since 2012.
After devoting his energy to Chromatics following work on Twin Peaks: The Return, Jewel is once again flanked by the sylvan vocalist Ruth Radelet plus Adam Miller and Nat Walker for a prime sort of imaginary soundtrack album, replete with Hitchcock-style movie poster artwork and movie-style rear sleeve credits, not to mention the meticulously vintage-sounding music.
So, in lieu of the fabled ‘Dear Tommy’ (which was finished and pressed up in 2015, but all copies were destroyed by Johnny Jewel not long after) the band serve up a nocturnal thriller’s worth of neatly groomed songcraft steeped in classic, moody pop strains, from synthy elan to more psychedelic, avant styles that feel like John Carpenter meets Scott Walker, and a swaggering shoegaze cover of The Jesus And Mary Chain’s ‘On The Wall’, and of course their opening take on ‘The Sound of Silence’, redressed in the airy, valdo-smushed L.A.-style they’ve come to own over the past decade.