Immersing in its blend of dreamy rock, electronic intrigue, and abstract lyrical artistry, The Deepest Shades of Red, Pt.1 is the new album from Hong Kong Stingray, the project of multi-instrumentalist and producer Chet Delcampo. The thoroughly atmospheric productions complement explorations into the human condition — specifically: growing older, personal connection, and the meaning of life. Eclectic aesthetical pursuits impress — from the mellow jazz of “finding shapes in clouds” to the dream-pop glow of “mel said of anne.”
Delcampo began crafting the album as a solo effort during the pandemic, then temporarily shelving it to work with a collaborative project instead. That effort was the 2023 self-titled EP with Opal Eskar, a trio including vocalist Karl Blau and members of The War on Drugs. That EP’s creative process reminded Delcampo of the joy involved in collaborating with friends, an ethos that then continued into the creation of The Deepest Shades of Red, Pt.1. The album, as a result, features notable involvement from Philip Stevenson, Birdie Busch, Kimbal Brown, Karl Blau, Nakita Beauregard, Reese Florence, Heyward Howkins, Todd Erk, and more.
“hey, butterfly keeper” opens the album with a conversational warmness. Lush guitar tones, buzzing synths, and gentle percussive pulses complement a suave vocal push — referencing “the sound of cars,” amidst one’s daily pursuits and work. “oranges on the moon” follows with gorgeous entrancement, weaving icy piano tones and a string-laden resonance within a trip-hop rhythmic arsenal. The “random acts of kindness,” line gives way to a beautiful blend of twangy guitars and caressing synths. More expressive guitar tones and vibrant percussion assemble with satiating impact as the track concludes. With these two opening tracks, The Deepest Shades of Red, Pt.1 doesn’t waste any time in showcasing a hypnotic, artful atmospheric prowess.
Jangly guitars and touches of glistening piano envelop on “films shot on trains.” “We hold each other’s hand out the window,” a dual-vocal chilliness emits as elongated electric guitar develops into the twangier, serene disposition. Various lyrical accounts of travel — “drive to Sacramento,” — infuses within an evening-time setting for a heady, introspective charm. The album often feels like it’s inhabiting the time of dusk or late nights; moving lyrical portraits and suave vocals meld wonderfully with sophisticated productions for a consistently engrossing sound.
Another standout, “unusual birds” is fondly reminiscent of Destroyer in its soothing vocal layers and feedback-friendly guitar atmospherics. A dash of strings in the final minute is particularly enthralling, bolstering an already-enchanting production that straddles dreamy rock and chamber-pop with seamless entrancement. Elsewhere, “mel said of anne” resembles the late-night rock haunts of The War on Drugs. One of the album’s brisker vocal performances shows here as well, achieving a dream-pop illumination at mid-point as the vocals converge into the “if I believed in God,” ruminations.
“We’re driving, while looking for the feeling,” melodic vocals exude on the lovely “rhythm ace 3,” which would sound at home in Twin Peaks with its heavy, twang-induced mystique. Ghostly, wordless vocals prove spine-tingling into the final minute, complemented by spacey synth tones. There’s a cinematic-like beauty apparent on many of these productions, feeling aptly situated in midnight drives, dark forests, or dimly lit bars. Wherever the setting, The Deepest Shades of Red, Pt.1 consumes in its range of immersive soundscapes and moods.
