Metropolis
The Future is what Pavel Khvaleev does ā¦ until perhaps he doesnāt. Are we about to shatter a decade-long universal truth? Well, a little bit. Pavelās fifth longform takes both name and inspiration from Fritz Langās iconic Metropolis - a breathtaking vision of retro-modern grandeur, meeting expressionist dystopia, high above cloudscraping edifices and stark industrial backdrops. That however was as so close to a hundred years ago as to make little difference. Pavel, by contrast, only began work on his āMetropolisā after the release of his last two studio albums (āInhaleā and āExhaleā) in 2021. To do so, heās drawn on a wellspring of collaborators from the pool of actors, singers, songwriters and voice artists heās built up over twenty years of film and musicmaking. To put that into āMetropolisās context, it includes Ryan Masson (soon to be seen in season 2 of The Last of Us) and the recently Grammy nominated singer Haley Johnsen. 1927ās Metropolis was a fusion of visual storytelling, uncanny silent era ether and strikingly toned music - a modus that Khvaleevās respectfully channelled into his interpretation. When composing, his mindās eye will take him places visually very specific indeed. To spaces that could be, well ā¦ anywhere but here. Naturally though, the frustration was he was āthereā, but his audience wasnāt. Waiting for technology to catch up has long been the bane of the visionary, but historically the payoff is it gets there in the end.
Metropolis
The Future is what Pavel Khvaleev does ā¦ until perhaps he doesnāt. Are we about to shatter a decade-long universal truth? Well, a little bit. Pavelās fifth longform takes both name and inspiration from Fritz Langās iconic Metropolis - a breathtaking vision of retro-modern grandeur, meeting expressionist dystopia, high above cloudscraping edifices and stark industrial backdrops. That however was as so close to a hundred years ago as to make little difference. Pavel, by contrast, only began work on his āMetropolisā after the release of his last two studio albums (āInhaleā and āExhaleā) in 2021. To do so, heās drawn on a wellspring of collaborators from the pool of actors, singers, songwriters and voice artists heās built up over twenty years of film and musicmaking. To put that into āMetropolisās context, it includes Ryan Masson (soon to be seen in season 2 of The Last of Us) and the recently Grammy nominated singer Haley Johnsen. 1927ās Metropolis was a fusion of visual storytelling, uncanny silent era ether and strikingly toned music - a modus that Khvaleevās respectfully channelled into his interpretation. When composing, his mindās eye will take him places visually very specific indeed. To spaces that could be, well ā¦ anywhere but here. Naturally though, the frustration was he was āthereā, but his audience wasnāt. Waiting for technology to catch up has long been the bane of the visionary, but historically the payoff is it gets there in the end.
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The Future is what Pavel Khvaleev does ā¦ until perhaps he doesnāt. Are we about to shatter a decade-long universal truth? Well, a little bit. Pavelās fifth longform takes both name and inspiration from Fritz Langās iconic Metropolis - a breathtaking vision of retro-modern grandeur, meeting expressionist dystopia, high above cloudscraping edifices and stark industrial backdrops. That however was as so close to a hundred years ago as to make little difference. Pavel, by contrast, only began work on his āMetropolisā after the release of his last two studio albums (āInhaleā and āExhaleā) in 2021. To do so, heās drawn on a wellspring of collaborators from the pool of actors, singers, songwriters and voice artists heās built up over twenty years of film and musicmaking. To put that into āMetropolisās context, it includes Ryan Masson (soon to be seen in season 2 of The Last of Us) and the recently Grammy nominated singer Haley Johnsen. 1927ās Metropolis was a fusion of visual storytelling, uncanny silent era ether and strikingly toned music - a modus that Khvaleevās respectfully channelled into his interpretation. When composing, his mindās eye will take him places visually very specific indeed. To spaces that could be, well ā¦ anywhere but here. Naturally though, the frustration was he was āthereā, but his audience wasnāt. Waiting for technology to catch up has long been the bane of the visionary, but historically the payoff is it gets there in the end.
