Nights bled into later nights. Conversation spun into collaboration. These three artists, kindred spirits, sonic familiars, spoke the same language, one whose lexicon included Jack Nitzsche, Morricone, Nino Rota, the electronic sounds of Raymond Scott, the vocabulary of vocal instrumentalists and fearless raconteurs, Edda Dell’Orso, Ruth White, Françoise Hardy, Connie Francis, Brigitte Fontaine, Jacques Brel, Elvis and Lee Hazlewood. Finding sound and programmed beats, Keefus and David excavated and innovated, experimented and re-interpreted, creating a landscape for Jade’s melodies and lyrics, for sublime songs of lament and confession. The legendary Hollywood Vox Studios was where the Unloved trio formally came together as a band, in a studio almost original to its 1936 incarnation.
In the spring of 2016, Unloved were guilty, their album Guilty of Love wholly modern yet steeped in the rich, redolent depths of the past. In 2019, they were heartbroken, with the audacious voodoo spells and sweet delights of Heartbreak. And all the while, Unloved’s immersive power and playful menace has fitted the slippery thriller series Killing Eve like a velvet glove, the thread to the needle. The music and sound of Unloved plays an integral role as their music is the soundtrack, the score, one of the core characters unseen. And now, in 2022, it’s the magnificent, metaphysical PINK ALBUM. Be seduced by the whispered, languorous, bluesy, not so sweet nothings of “Love Experiment” and the lippy insouciance of “Turn of the screw”. Thrill to the infinite variety: “Mother’s been a bad girl” is brazen, and “I don’t like you anymore” gloriously sultry. “Foolin’”, where languid, world-weary jazz sounds are skewed by a phantasmagoric organ from a funfair hallucinated, and there’s the sparkling fury and celestial chorus of “Rainbrose”, as though some flower-festooned goddess is emerging. |
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