Cologne’s Magazine keep it close to home with Colorist’s debut LP of bittersweetly detuned ambient chamber songs subsuming extra-musical influence from art and film
Antonio d. Luca and Caroline Kox incorporate a chorus of kölsch spars into ‘Overcloseness’, their debut album after a decade working under the Colorist moniker at the heart of the city’s tight-knit music community. Over the nine songs they oscillate instrumentals evoking Julia Reidy channelling baroque in the piquant, off key ‘Battle Meditation’, and full choral arrangements such as ‘Embody’ that brings together the voice of some 18 pals within their local orbit, while reserving the right to go outright noisy on an art-rock bent with ‘For Mimi’, and express their passions, shared with Magazine, for soundtrack music in the wickedly discordant symphonic menace of ‘Gelbe Augen’ and polyphonic avant-garde cacophony recalling Stockhausen or Black to Comm on ‘A Sum Over Histories’.
Their use of local chamber ensemble players - Nils Herzogenrath (bass), Nathan Bontrager (cello), Leonard Huhn (clarinet), Ronnie Oliveras (clarinet), Niklas Wandt (drums), Nela Doutch (flute), Nicola Gründel (piano) - prompts some of the album’s standouts in the Coil or Scott Walker-esque melodrama to ‘The Ballad of Candida Auris’, and relates to the city’s ties with the Far east in ‘Blood Markers’ ft. Echo Ho, before they all swarm around the regional influence of techno and rhythm driven electronics on the final surge ‘Challenge Me’.
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Cologne’s Magazine keep it close to home with Colorist’s debut LP of bittersweetly detuned ambient chamber songs subsuming extra-musical influence from art and film
Antonio d. Luca and Caroline Kox incorporate a chorus of kölsch spars into ‘Overcloseness’, their debut album after a decade working under the Colorist moniker at the heart of the city’s tight-knit music community. Over the nine songs they oscillate instrumentals evoking Julia Reidy channelling baroque in the piquant, off key ‘Battle Meditation’, and full choral arrangements such as ‘Embody’ that brings together the voice of some 18 pals within their local orbit, while reserving the right to go outright noisy on an art-rock bent with ‘For Mimi’, and express their passions, shared with Magazine, for soundtrack music in the wickedly discordant symphonic menace of ‘Gelbe Augen’ and polyphonic avant-garde cacophony recalling Stockhausen or Black to Comm on ‘A Sum Over Histories’.
Their use of local chamber ensemble players - Nils Herzogenrath (bass), Nathan Bontrager (cello), Leonard Huhn (clarinet), Ronnie Oliveras (clarinet), Niklas Wandt (drums), Nela Doutch (flute), Nicola Gründel (piano) - prompts some of the album’s standouts in the Coil or Scott Walker-esque melodrama to ‘The Ballad of Candida Auris’, and relates to the city’s ties with the Far east in ‘Blood Markers’ ft. Echo Ho, before they all swarm around the regional influence of techno and rhythm driven electronics on the final surge ‘Challenge Me’.
Cologne’s Magazine keep it close to home with Colorist’s debut LP of bittersweetly detuned ambient chamber songs subsuming extra-musical influence from art and film
Antonio d. Luca and Caroline Kox incorporate a chorus of kölsch spars into ‘Overcloseness’, their debut album after a decade working under the Colorist moniker at the heart of the city’s tight-knit music community. Over the nine songs they oscillate instrumentals evoking Julia Reidy channelling baroque in the piquant, off key ‘Battle Meditation’, and full choral arrangements such as ‘Embody’ that brings together the voice of some 18 pals within their local orbit, while reserving the right to go outright noisy on an art-rock bent with ‘For Mimi’, and express their passions, shared with Magazine, for soundtrack music in the wickedly discordant symphonic menace of ‘Gelbe Augen’ and polyphonic avant-garde cacophony recalling Stockhausen or Black to Comm on ‘A Sum Over Histories’.
Their use of local chamber ensemble players - Nils Herzogenrath (bass), Nathan Bontrager (cello), Leonard Huhn (clarinet), Ronnie Oliveras (clarinet), Niklas Wandt (drums), Nela Doutch (flute), Nicola Gründel (piano) - prompts some of the album’s standouts in the Coil or Scott Walker-esque melodrama to ‘The Ballad of Candida Auris’, and relates to the city’s ties with the Far east in ‘Blood Markers’ ft. Echo Ho, before they all swarm around the regional influence of techno and rhythm driven electronics on the final surge ‘Challenge Me’.
Cologne’s Magazine keep it close to home with Colorist’s debut LP of bittersweetly detuned ambient chamber songs subsuming extra-musical influence from art and film
Antonio d. Luca and Caroline Kox incorporate a chorus of kölsch spars into ‘Overcloseness’, their debut album after a decade working under the Colorist moniker at the heart of the city’s tight-knit music community. Over the nine songs they oscillate instrumentals evoking Julia Reidy channelling baroque in the piquant, off key ‘Battle Meditation’, and full choral arrangements such as ‘Embody’ that brings together the voice of some 18 pals within their local orbit, while reserving the right to go outright noisy on an art-rock bent with ‘For Mimi’, and express their passions, shared with Magazine, for soundtrack music in the wickedly discordant symphonic menace of ‘Gelbe Augen’ and polyphonic avant-garde cacophony recalling Stockhausen or Black to Comm on ‘A Sum Over Histories’.
Their use of local chamber ensemble players - Nils Herzogenrath (bass), Nathan Bontrager (cello), Leonard Huhn (clarinet), Ronnie Oliveras (clarinet), Niklas Wandt (drums), Nela Doutch (flute), Nicola Gründel (piano) - prompts some of the album’s standouts in the Coil or Scott Walker-esque melodrama to ‘The Ballad of Candida Auris’, and relates to the city’s ties with the Far east in ‘Blood Markers’ ft. Echo Ho, before they all swarm around the regional influence of techno and rhythm driven electronics on the final surge ‘Challenge Me’.
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Cologne’s Magazine keep it close to home with Colorist’s debut LP of bittersweetly detuned ambient chamber songs subsuming extra-musical influence from art and film
Antonio d. Luca and Caroline Kox incorporate a chorus of kölsch spars into ‘Overcloseness’, their debut album after a decade working under the Colorist moniker at the heart of the city’s tight-knit music community. Over the nine songs they oscillate instrumentals evoking Julia Reidy channelling baroque in the piquant, off key ‘Battle Meditation’, and full choral arrangements such as ‘Embody’ that brings together the voice of some 18 pals within their local orbit, while reserving the right to go outright noisy on an art-rock bent with ‘For Mimi’, and express their passions, shared with Magazine, for soundtrack music in the wickedly discordant symphonic menace of ‘Gelbe Augen’ and polyphonic avant-garde cacophony recalling Stockhausen or Black to Comm on ‘A Sum Over Histories’.
Their use of local chamber ensemble players - Nils Herzogenrath (bass), Nathan Bontrager (cello), Leonard Huhn (clarinet), Ronnie Oliveras (clarinet), Niklas Wandt (drums), Nela Doutch (flute), Nicola Gründel (piano) - prompts some of the album’s standouts in the Coil or Scott Walker-esque melodrama to ‘The Ballad of Candida Auris’, and relates to the city’s ties with the Far east in ‘Blood Markers’ ft. Echo Ho, before they all swarm around the regional influence of techno and rhythm driven electronics on the final surge ‘Challenge Me’.