Leonardo Da Vinci had a formula for painting buildings: “To make one appear more distant than another, you should represent the air as rather dense. Therefore make the first building… of its own colour; the next most distant make less outlined and more blue… that which is five times more distant make five times more blue.”
Melbourne musician Gregor shares the same philosophy.
In his poignant pop songs we see desire, and distance, all expressed in gradients of blue. Vivid emotions at close range, and hazy visions of the sky above and planets beyond.
His second album Destiny begins with the slow rhythm of a resting heartbeat, and synths that quietly rise like the sun. Gregor sings of rocks, rivers, currents and the stars. That’s the Sky follows at a similar easy pace – a drifting daydream of a groove, with lyrics to match: “That’s the sky, trying to reach you, that is why you believe in love.”
There’s celestial harmony on Destiny, and there’s disquiet too; Gregor captures the frustration of patterns repeated and lessons not learned on Senseless, and Mother of Spring is a stadium-sized ballad of lovelorn lament with a vaporised guitar solo to match.
Gregor’s spacious arrangements allow for wonder and awe. The Morning Light erupts into a cinematic crescendo of fuzz guitar, synths, and drum breaks. A Night In Neptune closes the album on a soaring high amidst a swell of orchestra hits and cosmic guitar lines, before fading once more into blue.
Destiny by Gregor is out November 13 via Chapter Music.
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