On 𝐶𝑜𝑙𝑜𝑟𝑠 𝑜𝑓 𝐷𝑖𝑠𝑡𝑎𝑛𝑐𝑒, Philadelphia-based Alene Marie sprawls into pastoral, synth-pad laden compositions falling somewhere between the work of private press American new agers and the psychedelic essence of Kraut-y synthscapes, with underlying hints of acid house. Recorded during the pandemic, an emotional affect hovers over the sentimentality of the material. Whereas Marie’s club music stylings as Liquid Asset rely on the relational in a larger social utility, 𝐶𝑜𝑙𝑜𝑟𝑠 𝑜𝑓 𝐷𝑖𝑠𝑡𝑎𝑛𝑐𝑒 leans into a hefty supply of collaboration and an intimate scaling of the interpersonal. Key collaborators Fanciulla Gentille, Nihar, and Glyn Maier provide the connective tissue for Marie’s material here. These are recordings of, in Marie’s words, “closeness, separation, and love over distance.”
Alene Marie has been a stalwart of the United States underground music community for over a decade, humbly developing a spectrum of synthesizer-based recordings and performances utilizing analog and digital synthesizers, often built herself. Under various aliases, Marie’s work has been highlighted internationally by labels PL, Jacktone, Mélodies Souterraines, Hot Releases, Schmerf, and more.