While Belong still considers these cover songs, what we are presented with are shells, the ghosts of what we think we know about such a fleeting medium as music in the first place. And like the title implies, the music sounds weathered, a faded version of some original we might only imagine. As a record of covers, it sounds like the sonic palimpsest that it is exactly. Belong constructed this work based 100% on the philosophy of St. Ives, As such, this is the sort of record that reminds you why you love vinyl; the surface noise adds another voice to the conversation, an entirely appropriate layer to the polyphony. So much so that Belong used the test pressings to make the digital version, and experimented with the level of surface noise befitting the nature of the music.
On Colorloss, one finds a humble treatment of the hierarchy of sounds. It is the equal attention given to each sound and its place in the mix that makes this a true musical democracy where each element shines in its own way, while propping up the others in a puzzle that would charm Archimedes. A wash of fuzz finds itself meandering thru a track holding hands with the vocals, the space between a breathe before the next submergence. What we have as a result is work of such staggering beauty and melodic thoughtfulness to stop Kevin Shields in his tracks at the wonder of it. And while the instrumentation and means might be different, this is a music that has as much in common with late 20th century composition in the vein of John Cale or Tony Conrad as it does with the soundscapes of William Basinski or My Bloody Valentine.
Belong continue to reside in their hometown of New Orleans, braving the neverending pyroclastic flow from their own personal Vesuvius to bring us a portrait of the beauty inherent in decay.
Each record cover is painstakingly handmade by the artist - limited to 300 copies worldwide.
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