Music / Reviews
Review: Cinematic Orchestra, Colston Hall
Yes, The Cinematic Orchestra is back. Back with soundscape-bending, genre-splicing, epic material. Jason Swinscoe’s nu-jazz outfit has taken a great deal of flack over the years, his productions soundtracking everything from Schweppes to Armani and even the BBC’s Countryfile. Not exactly cool. But nothing can take away from the fact that Cinematic Orchestra deliver heart-wrenchingly beautiful music that is at once both dripping in pathos and yet exultantly uplifting.
In fact, that is exactly how to describe their latest single To Believe featuring L.A.-based vocalist Moses Sumney. Based on the simple premise that “the prerequisite of everything in life is belief”, halfway through the set Moses conjures a sorrowful ambience which builds to a rapturous climax. But that’s slightly getting ahead of ourselves…
As one would expect from these electro-jazzers, tonight’s set looks and sounds incredible. Pushing the boundaries of musical experience, TCO combine artistic flair with truly remarkable musicianship to create an impressively cohesive stage show. The clever lighting design has a retro feel, pulsing out golds and ambers that dazzle the audience, generating a nostalgia-fuelled experience that is reminiscent of the first warm rays of Spring. The performance is well suited to Colston Hall’s decaying splendour, Swinscoe’s production nodding to an analogue past, but firmly bedding itself in 21st century high-tech spec.
is needed now More than ever
The free-form chaos of Tom Chant’s fluttery, scatty, avant-garde soprano saxophone is the perfect foil to the contrasting smooth string section and soothing harmonies. The vocalists on stage tonight are Mr Sumney, Heidi Vogel, Tawiah, Grey Reverend and Melanie de Biasio fresh from the I’m Gonna Leave You TCO remix, released last year. They guide the production with nuanced, intelligent, careful delivery and emotional resonance. Percussionist Luke Flowers also deserves a name-check. His beats are at the heart of everything and his solos are absolutely remarkable.
Few bands share the ambitious, progressive nature of The Cinematic Orchestra. Formed in 1999, for nearly 20 years the artists have been fusing genres and styles, merging classical with contemporary, orchestra with technology. Their new album drops in early 2017 on Ninja Tune, the pioneering label that has brought us music by cut and paste geniuses such as Coldcut, Kid Koala and Mr Scruff. If the single is anything to go by, their much anticipated new material will be just as breathtaking. And we wouldn’t expect anything less.
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