Tag: Polychrome

POLYCHROME Interview

Describing themselves as “Slacker synth-wave refuseniks”, POLYCHROME’s brand of filmic dreamwave as showcased on their self-titled 2018 debut album found favour with TV producers and advertising agencies around the world.

The duo of Vicky Harrison and Oliver Price wrote the majority of their first record in isolation around the serene surroundings of Grianain Eco Lodge near Fort William.

Utilising grainy Lo-Fi synths, old drum machines, WEM copycat tape echo, minimal guitar textures, the emotional centre comes from Vicky Harrison’s angelic vocals filtered through vintage microphones but airily layered using modern production techniques.

Having recently signed to Outland Recordings, both parties are celebrating their union with the release of a brand new single ‘Starts With A Kiss’. Vicky Harrison chatted to The Electricity Club about the evolving sound of POLYCHROME.

How would you describe the sound of POLYCHROME?

Our debut album was a mix of dreampop, synthwave, chillwave and shoegaze, so it wasn’t very specific, no! It shows how interested we are in different genres, especially underground electronic styles. But bands tend to end up sounding like the bands they like don’t they? People say “oh, you sound like so-and-so…” and you reply “Oh yeah, I love them, they’re one of my favourite bands so…” *laughs*

Which acts have been key influences, it would appear ELECTRIC YOUTH and CHROMATICS are but who else?

Definitely the ‘Drive’ soundtrack, we were making music in that kind of style but because our track ‘Final Kiss’ did so well, we decided to continue POLYCHROME.

When the first album came out, we got a lot of references to COCTEAU TWINS, M83 and we also had dreampop references, LANA DEL REY and GOLDFRAPP, that sort of thing.

POLYCHROME are very active on social media, how did you and Oliver go about developing this?

It’s more me driving the social media, but Ollie does a lot more of the production so it evens itself out. I’ve been thinking a lot more about how we can connect with fans and try to change my attitude to online platforms being a barrier to people, to being a way of connecting with our fans. It’s trying to think about what they want, rather than what I like or want *laughs*

It’s been very interesting actually, I noticed quite a lot of our fans seem to like metal music as well, as I’m not really a fan… a lot of rockers have come into synthwave, I don’t know what it is, the dark basslines maybe?

From a visual image point of view, you are comparatively more understated to go with the music?

It’s all about the music maaaan… *laughs*

I’m not against a strong visual image at all, in fact I’ve just ordered a really cool catsuit that I may be wearing in our next live video and I want to very much consider our look as well.

But I’ve always been just a bit of a music geek and in my old band VICTORIA & JACOB, the whole thing was set on the music and being very much understated and introspective with the stage presence.

I’ve analysed it quite a lot since to understand why I decided to go down that route, because I really wanted people to connect with the emotion of the songs. But with POLYCHROME, I want to go a step up from that and think more about my stage presence, the look and how I present myself. Our aesthetic is to be more shimmery, glitter and that sort of thing. You will see more of that, a strong visual image does make people look and check out the music.

It’s got to be considered even if it’s understated… when I think of understated, I think of LONDON GRAMMAR, I love that band and I love her voice, but I love that she just wears a pair of jeans and a black top. And THE XX, every time, black tops, black trousers, it’s still considered and not random.

What do you think when you look back on your self-titled debut album?

I’m really happy with it, I do think it’s a grower and me myself, I like albums that grow on you. I like weird underground electronic music or I like something pop, so I think we do have some of that pop sensibility in quite a few of our tracks. There were lots of soundscapes in there.

But there are always things you’d want to improve; our writing process is in the studio so we’re recording and writing at the same time.

So sometimes it’s the final product although we do go back and tweak. You need to sit on it for a few months to review it with a little bit more perspective.

So is a lot of it done with you both sitting in a room together rather than remotely by exchanging files?

We did one track sending files to each other but yes, we had this friend in Scotland who has this amazing lodge which she let us stay in. We felt quite at home and we were definitely inspired by the landscape.

We’d go out on long walks, meet with my friend who is an amazing cook and it all felt very comfortable. We wanted to make sure we had this time to reflect and put it into the writing process. It was really fun and we probably won’t get the chance to do it quite like it again.

‘Synesthesia’ was the tune you opted to get behind to do a video for. What was it for you about that song particularly?

We did work with a PR company so they might have had some influence, we did want their advice. I really that track, we worked with a guy named Stephen Hodd who co-wrote it with us, he’s done a lot of work with PASSENGER and LAMB so I think you do get those influences in ‘Synesthesia’ from him, so there’s an element of folkiness and trip-hop.

The closing track ‘Don’t Be A Stranger’ took its lead from ‘Stranger Things’, how influential do you think that series has been on popular culture?

We’re big fans of ‘Stranger Things’, especially the first series. We’re influenced by anything with a nostalgic element to it and ‘Stranger Things’ had that 80s thing going on. It was one of the big shows that really captured people’s attention. I did meet Nora Felder, the ‘Stranger Things’ music supervisor, at an event so I asked if she’d consider putting POLYCHROME in their but she said “No, we only take 80s originals!” *laughs*

‘Final Kiss’ has become your most popular track and has a disco lento femme fatale air about it, what was its catalyst in terms of writing and production?

It was a long time ago! I did a fair bit of the production on this and the vocal for ‘Final Kiss’ was done with a mic we found in a car boot sale, a vintage harmonica microphone.

Whenever we record, we try out a lot of microphones but quite often, we come back to that one because it just seems to capture the best frequencies of my voice. I don’t know where that Italo disco thing came from, it must be in me and Ollie, the nostalgia from that era must just resonate *laughs*

‘Final Kiss’ did particularly well and what sort of kicked POLYCHROME off to do a whole album. It’s had quite a bit of coverage, we’ve had it on adverts in Poland and Denmark, it was part of a Russian brand campaign.

More recently, it was on ‘The Unorthodox’, a series on Netflix. Denmark has particularly brought in a lot of fans and we’d like to tour that region at some point when we’re ready.

Many artists say they have a lifetime to prepare for a debut album but for the second, its much less, any thoughts?

After our first album, we took a break because we put a lot of effort into it; we started a record label called Hi-Lo-Lo-Hi to release it ourselves. There was a lot of investment and being an independent band, it takes a lot of time to make back what you’ve put in, so we needed a bit of recovery time after that.

Then we re-evaluated our approach to the business and releasing music, hence my improvement with social media. It was to get rid of this belief that somehow, a PR company is going to make something happen for you… sometimes they get something and sometimes they don’t. But you have to make sure you are consistently in control of your fanbase and building it, keeping it and giving them what they want.

I think me and Oliver were a bit stuck in the old model, a record label and a PR company because that’s how we’d done it in the past but things have moved on. And there aren’t that many print magazines now so you can’t get a write-up there either!

What would be the creative dynamic between you and Oliver?

Oliver comes to life in the studio and there’s this great dynamic. We just bounce off each other I guess.

I’ll send Ollie quite a lot of samples or source out a new piece of equipment but he does most of the production stuff. He has quite a clean pop sound although I don’t know if he would agree with me there! *laughs*

The new single is ‘Starts With A Kiss’, so you like kissing as it appears to be a recurring theme? 

I know! That’s what we wanted because we’d finished with a kiss, so now wanted to start with one. We had originally delayed the release due to the sensitivity with the current situation but now we’ve just decided to go for it.

It has vocoders and a FM rock guitar solo too…

The guitar solo is by Bjorn Ågren from RAZORLIGHT who is a friend of Ollie’s, apparently he just loves his 80s stuff so he was really up for it. We’ve gone a little more synthwave with our new tracks so we’ve tried to be a bit more specific, but even when we try, we still come out synthpop! *laughs*

On the new material like ‘Signs’ , there appears to be more of the vocal glitch processing techniques that were heard on the first album with ‘Dreaming About You’, ‘Final Kiss’ and ‘The Call’, do you see the voice as being as much an instrumental aesthetic as much as synth or guitar, so fair game for treatment?

Yes, like with ‘Final Kiss’, the vocals were a hook so we wanted to keep and develop our signature sound. It’s definitely part of the instrumentation but it’s also part of the interpretation of the story, crossing the humanity with the technology.

At the moment, I’m working a lot on how to interpret our own songs for live, thinking more about what the songs mean.

So I’ve come up with a character that lives throughout the stories of the songs so I can keep a consistency through the interpretation in the hope of keeping a stronger connection with the audience. The character is a young Asian girl called Lucy and she’s in this post-apocalyptic world and she is living under water in the sea as one of the last humans; she’s developing a connection with a romantic partner and there’s this strange dependency going on between the two of them, there’s hope and comfort in there.

The journey will take you through the story as the characters are relying on technology. In my mind, they are partly made of technology and Lucy is relying on the technology to interpret her own feelings.

You mentioned previously that you feel vocals are the most important aspect of a recording?

That’s going to be very individual to the listener but for me in any track, the vocals are important to me. I’m a singer, I’m a voice teacher, I’ve analysed the voice, I’m studying the voice, so for me, the voice has been so important to me in my life as a means of emotional expression.

I’m just fascinated by it, how it works, how you can get different sounds and create different connections to your audience, using just your voice, it creates a sense of humanity and makes it more personal. You can have great instrumental tracks but in my mind for it to stick out, the voice is essential. You make what you love. I am used to instrumental versions of our tracks because we want to get our music out on TV and films for producers to consider using as an atmosphere to back a visual.

How has your voice changed over the years?

I used to use a clearer tone but with POLYCHROME, I’m a lot more breathy, it just happened.

I just liked the atmosphere so I added in more breath. It matched the style of the music but contrasted it as well against the electronic sounds and made it a little bit sexy and eerie.

Atmospheric would be the made word here because with dreampop, you’re not using the lyrics so much but creating more of atmosphere or feel, an emotion or vibe. The lyrics perhaps aren’t as important… you might not hear them on first listening and be drawn to the melody, and then later on, you become involved with the lyrics.

Another new song ‘UltraViolet’ seems to sound more aggressive musically with that loud rimshot and layers of synths?

It does! I don’t know why! *laughs*

It’s quite driving with a faster tempo and I think it leans more towards synthpop, but there was no particular conscious choice. We made a series of electronic vibes and picked what we liked and started sculpting those. We might do that in a few sessions on one song, it still needs a lot of work but the main body is there by the time we get to the end.

You’ve signed to Outland Recordings for your next release, what are your hopes and fears with regards the future of POLYCHROME?

We’re very excited to be working with Outland, we met Stuart McLaren about a year ago and he’s a fantastic chap who is well into the synthwave scene. I guess that’s drawn POLYCHROME a bit further in that direction and it’s been interesting to get to know that scene.

I met a lot of lovely and dedicated fans, they’re always super friendly so that’s really nice. So regarding the future of POLYCHROME, we’re just going to release these tracks and see how they go.

We have a good direction with regards our music being used in television for adverts and we’d like to continue that as our music seems to go down well. At the moment, we are looking to try and find people to represent us in different countries for that and we’re hoping Outland gets us some good playlisting.


The Electricity Club gives its sincerest thanks to Vicky Harrison

‘Starts With A Kiss’ is released as a digital single by Outland Recordings on 12th June 2020, pre-save via https://ffm.to/startswithakiss

‘Polychrome’ is available as a name your price download from https://soundofpolychrome.bandcamp.com/

http://soundofpolychrome.com/

https://www.facebook.com/soundofpolychrome/

https://twitter.com/soundofpolychro

https://www.instagram.com/polychromesounds/

https://www.weloveoutland.com/label


Text and Interview by Chi Ming Lai
Photos by Héloïse Faure
20th May 2020, updated 12th June 2020

TEC’s 2019 End Of Year Review

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business.

That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic…

MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again. HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA at TEC005 and Mute Records veterans KOMPUTER at TEC006.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of OLLIE WRIDE took a more MTV friendly direction with ‘Thanks In Advance’.

But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour.

Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel.

Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from JORJA CHALMERS who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’.

But expressing themselves on the smoother side of proceedings were CULT WITH NO NAME and notably SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest.

Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, RICARDO AUTOBAHN, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although ERIC RANDOM’s dystopian offering ‘Wire Me Up’ added vocoder while BRIAN ENO celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLOYD COLE surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man GARY DALY ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, KARIN MYGRETAGEISTE and ALICE HUBBLE with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths. DANA JEAN PHOENIX though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by The Electricity Club to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER.

However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019.

It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur like it was normal behaviour, forgetting that ability and talent were paramount.

This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as The Electricity Club comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever.

Artwork by Heloisa Flores

The Electricity Club had a compilation released by Amour Records gathering some of the best music from the last 10 years and reached No2 in the German POPoNAUT charts.

It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of deluded poor quality artists will contaminate the bloodline.

So The Electricity Club ends the decade with a complimentary comment by a punter after TEC006 who had also been to TEC004: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉


THE ELECTRICITY CLUB Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING


IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI


SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN


CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI


RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE + RUSTY EGAN at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC


MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM


Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019

Introducing POLYCHROME

POLYCHROME describe themselves as “Neon Segawave”, probably an apt term of reference given their flirtations with synthwave and dreampop.

Modern glitch effects like PURITY RING with the girly synthpop resonance of Miami’s PRIEST and the chillwave air of the Sarah P. era of KEEP SHELLY IN ATHENS permeate through the sounds of POLYCHROME, as exemplified by ‘The Call’.

However, the London-based independent duo themselves name the usual suspects of M83, COCTEAU TWINS and CHROMATICS as well as the polarising sub-genre of shoegaze as influences. Fronted by the angelic presence of Victoria Harrison, she is ably partnered by Oliver Price and both contribute vocals as well as production.

“We love it Lo-Fi, old drum machines, vintage microphones and Sega Mega drives!” the duo say, affirming their more rustic approach to electronic pop. Much of the POLYCHROME’s self-titled debut album released in 2018 was written in isolation around the serene surroundings of Grianain Eco Lodge near Fort William and it shows.

The ‘Drive’ influenced ‘Synesthesia’ reflects the union of the senses as suggested by its title, with its synthetic and vocal layers providing an electro-organic wash, accompanied by a rainswept video shot through glass for that suitably hazy effect.

The album closer ‘Don’t Be A Stranger’ provides an airy twist on the ‘Stranger Things’ theme with a slower variation on its iconic pulsing arpeggio, it could be considered POLYCHROME’s mission statement as to their next artistic intent as they move further into combining synthwave with dreampop.

Concluding their debut album campaign with a ‘Final Kiss’ and a manipulated voice hook, the song recalls the sedate synthpop of Canadian duo ELECTRIC YOUTH with chiming guitars and electronic drums complimenting the backdrop.

It will be interesting to see where POLYCHROME head next with many possible paths on the crossroads and while there is still perhaps some focussing to do dynamically, the musical potential is there.


‘Polychrome’ is available as a download album from https://soundofpolychrome.bandcamp.com/

http://soundofpolychrome.com/

https://www.facebook.com/soundofpolychrome/

https://twitter.com/soundofpolychro

https://www.instagram.com/polychromesounds/

https://soundcloud.com/soundofpolychrome


Text by Chi Ming Lai
23rd April 2019