Red Carpet Debut: Discolor Blind 'Long Vivid Dream'
Discolor Blind is music that mixes melancholy with that silver lining of hope, for romantics running a fine line between harsh realities and sweet dreams. This is bound to appeal to fans of Blonde Redhead, CocoRosie, Massive Attack, and GEMS, as well as John Fryer’s Black Needle Noise. It's cinematic in nature, dystopic in execution, Discolor Blind boldly, yet seamlessly cross genres with their latest offering.
With Alexis Nadeau on lead vocals, Malayeri has combined the dark tremor-pop of Kate Bush and melded it with the deep electronic-rock of late-’80s / early ’90s Depeche Mode and the haunting disco-electronica of Blonde Redhead.
Montreal's Discolor Blind has released their debut EP 'Long Vivid Dream'. Although I do agree with the bands typically referenced by writers about this band (including Blonde Redhead, Portishead, Massive Attach, Touch and Go, and early Skunk Anansie), I think the Bjork-infused soundtrack to 'Dancer in the Dark' comes to mind foremost due to the highly dramatic swings and cinematic feel here. Top tracks are Black and Grey and What Pain Brings, with Poor Receipts in third.
This EP follows their well-received singles 'Black and Grey' and 'Poor Receipts'.
This is as much a showcase for Discolor Blind mastermind Askhan Malayeri's musical skills, from composition to lyric writing to multi-instrumentalism to production, as it is a suite of songs in its own right. This EP not only connects the dots of his musical learning, but also connects the flavours of the cultures he has lived in and the styles that have influenced him.
‘Long Vivid Dream’ was recorded in Montreal between April 2013 and October 2015. It features vocalist Alexis Nadeau, who Malayeri met through a mutual friend in September 2013. The EP also involves Grammy and Oscar-winning music producer Jeff Bass, best known for his long-term work with Eminem and collaboration with George Clinton.
This EP is laced with the melancholia and angst that crept in from the cold Canadian winters Ashkan now found himself acclimatizing to, summing up the myriad textures found on the record. A mix of chilled and measured washes are used as platforms for more intricate sounds from raw guitars and plaintive pianos to pop beats and even sultry jazz grooves.
Building up the songs involved a long and dedicated process, where Askhan plays the core sounds across a variety of instruments and digital methods, many of which are then replaced by other players for the final recording, and vocals added above the tracks. He likened the process to rebuilding a large cathedral brick by brick.
The attention to detail is worth the effort with its dreamy soundscapes, rock aggression, pop aware melodicism, progressive attitudes, sonorous gothic edges and quirky nu-jazz and everything in between. Yet somehow this EP maintains a cohesiveness, always sounding like a complimentary collection of songs rather than a scatter gun of musical ideas. Eclecticism, it would seem, is back on the menu.