100k distractions, and only 1 will set you free.
100k distractions, and only 1 will set you free.
I never left you.
I will never leave you.
Check out their news clip here: http://bit.ly/2IbVb5W
TONIGHT my interview will air live at 10pm CST! NBC Affiliate station WREX Channel 13 had some questions about our film ‘Loves Park’ and I do answer them! Here is link to check out the live stream online 10 pm CST: https://bit.ly/2tk6ajs
White Blush released her Loves Park EP this week, creating a green pasture by stepping through the dimension of sound. The LA artist Carol Rhyu composes musical in spacial, visual, and well noted cinematic ways, that we detailed in last year’s write up for “Neptune“. And even then, we never quite could have imagined the electric etched otherside of this world that Rhyu has made with Loves Park, something even beyond the Lynch/Badalamenti/Cruise love, and profound appreciation for Gary Wilson.
From the get go on “Wish”, it rapidly becomes the epitome of the ultimate intro song. Follow how the key’s effects are gradually applied with grace, where Carol’s voice controls sonic dissonance where the drums patterns are invited according to a restrained but effectively planed order of sequence. The DJ Gomexxx production splashes buckets of pure sun, that coasts into the hot August night keys of, “Summer”, that creates the feeling of riding and rolling free in the convertible life of partying with the roof down. Everything around the speakers become absorbed into more of the White Blush manufacturing of fog and climate conditions through the vapor digitales of, “Ether”.
The David Lynch institutions of cinematic environments springs these songs to new tiers, exploded dream diary doses of guitar strum around the planetary orbit on, “Neptune”. The ephemeral world of Loves Park is given both a tangible and sense of real place, an Atlantis from above the clouds where Carol creates her own electronic cut earth and skies. But little is fully explained, as our following dialogue with Carol only provides vague hints and subtle clues to of Loves Park. Like the gorgeous mind coasting closer, “Mysterieux”; little about this imagined dream world is explained, a mystery of beauty made to be experienced in all capacities available.
White Blush’s Carol Rhyu wrote the following to us about the making of the Loves Park EP:
“I pretty much scavenged everywhere for these songs, it was like treasure hunt. For Ether and Summer, I was listening to so much Julee Cruise and Twin Peaks and tried to make those flying Ariel Pink synths. I love that one nympho song.
I’d also been dreaming about this pretty mythic place Loves Park for so long, caught in this four-year loop in a sort of dissociated state where I can’t really think about anything else. It’s hard for me to watch TV or go to shows. I think the music is all becoming more visual though, I just have to shoot the images now.”
Loves Park is available via Bandcamp.
LA’s prints_ (yes, underscore included) are practically demanding to look like a potentially malicious line of code with that name and heavily processed artwork. It makes sense then that their two previous singles, 2012′s “Wish” and “Cut”, are heavily glitchy future pop affairs, striking somewhere between being Purity Ring‘s younger sibling and a shrine dedicated to the late Crystal Castles. The most unsettling factor here though is singer Carol Rhyu, also known by dream pop project White Blush. Normally the kind of airy-sounding singer fit for night driving mixtapes, Rhyu sounds like a trapped spirit moping through the halls in a seedy club on “Ghosts”.
White Blush, the project of Chicago by LA’s Carol Rhyu deals in the cinematic spaces between the darkest patches of see and deepest space. While many Lynchian Twin Peaks metaphors and similes have already been used, our best analogy finds the meeting of the comforting and eerie ambient sound spheres akin to those purgatorial grounds between the Black and White Lodges. And like an ethereal concert at the Roadhouse, Carol’s vocals are delivered in soft, forlorn tones that course through the bass-guitar-keyboard trifecta.
Seen recently playing a gig and hanging out with cult legend Gary Wilson at the Magic Monster Birthday Party, we can only wonder what thoughts and words were exchanged on synthesizer stylistics of both the dark and the surreal. Like Wilson’s obsession with 50s Dion and that classic guitar cadence buried in effects on “Neptune”, the solemn side of White Blush’s midnight matinee approach could be the perfect collaborative sound to surround Gary’s croons.
The high string key steers into the commencing slow-strum chord strike. With a tremolo-laden guitar twang careening along the driving bass pulses, the passion illustrated evokes those tense and funereal moments depicted in network late night films. Something in the sustain and sparse chords creates a soundtrack to be enjoyed on a feature shown on an aging television where the decades blend together like the bleeding fade of colors in the technicolor tube. The ballad written by Art Torres and Rhyu reaches those places between “Neptune” the planet and the mythical King Neptune of the sea. The synths deep-sea dive into the coldest oceanic darkest corners, while Carol’s voice and guitar drifts take you to the surface and even higher above. The bass line evokes the song’s central heartbeat, as you are carefully pendulumed from the heavens to the ocean.
The White Blush self-titled debut is available now and a full-length is in the works. Carol is also currently working on a screenwriting project.