Review: Colourmusic - May You Marry Rich
[Memphis Industries; 2014]
Rating: 7/10
By Abbie Doyle, Copy Editor
Key Tracks: "The Duchess," "Dreamgirl '82," "Snake in the Mouth"
Colourmusic’s latest release is hard to put into words. Phrases like “angry techno” and “mind-boggling experimental rock” come to mind, but nothing seems to fit just right. This ability to avoid pigeonholes is quite a talent of Colourmusic, as could be seen when music critics tried to fit 2011’s My ____ is Pink into a genre. The approach to May You Marry Rich is one that is tentative but eager; the album seems to exist in a world all to itself, and gaining entry to that world takes time and serious consideration.
The intricacy found in May You Marry Rich is perfectly detailed and astonishingly choreographed. The result can be overwhelming at times, but can also be energizing and exciting. Some songs are ideal for lazy floating while others demand attention. May You Marry Rich never suffers from dullness or repetition, but the overall effect may disrupt a few equilibriums. Colourmusic cites both Aphex Twin and Iggy Pop as large influences on its work, which says quite a bit.
The album opens with “The Duchess,” a fuzzy groove with roots in R&B. The production is unbelievable; reverb and emphasis are everywhere and anywhere. To count the number of electronic effects is impossible, especially while a distracting, rapid-fire staccato synth punctures the tune.
Understanding vocalist Ryan Hendrix can be exceedingly difficult for a majority of the album. The record is so fuzzed and chaotic that his druggy croon gets lost between notes unless he’s absolutely belting as on “Overture.”
“Overture” is a gritty, tough song with heavy production and abrasive synths, but so is a majority of the tracks. Yet this is the only track where Hendrix carries his vocals with a definite gravity, and this is so much better than his typical soft warble. It feels as though every song—flirting so coyly between harsh techno and metal--deserves such powerful vocals.
Not to say that Hendrix’s vocals aren’t appreciated. He adds an element of wispy psychedelia to the music, and without that element Colourmusic’s whole sound would be altered.
Some of the strongest moments on May You Marry Rich are “Dreamgirl ‘82” and “Snake in the Mouth.” The guitar work on the latter is addictive, while the former is incredibly heavy; the industrially steel guitar riff is enunciated by violent synths. The incredible instrumentation is kicked up a few notches further when the listener begins to understand the lyrical topics on this album.
May You Marry Rich spends its duration contemplating the idea that humans expect a sort of innate joy and happiness in their lives. One of the most expected details of life is love, and Colourmusic uses simple-but-strong language to point out the flaw in this belief.
“This is the stage / This is the stage we disappear / Into one another / We’re not coming back again / Back again.” This lyric in “Silvertape” is a comment on how often couples disappear into one another, and how important it is that people retain a sense of self even in the face of all-consuming love.
May You Marry Well is a deeply interesting album with countless layers and meanings. The instrumentation is phenomenal, as is the simple but striking lyricism. Those interested in a challenging yet rewarding musical experience should lend their ears to May You Marry Well; they won’t be disappointed.
