Eagerly scanning the Silent Radio mailbox, ever searching for exciting new releases does create a transient, goldfish-like relationship with music. In March 2022, I favourably reviewed ‘World Contact Day’ by Blue States, a woozy, dreamy yet subtle record that I thoroughly enjoyed. In the intervening four years, I had completely forgotten the act and record. It was only when news of their new release, ‘Where The Fades Meets’, appeared in my inbox that a hazy recollection was stirred.
With this new album, their seventh in total, Blue States mastermind Andy Dragazis has gone for a maximalist approach. Whereas ‘World Contact Day’ deployed the talents of an array of guest singers making individual appearances on the songs, ‘Where The Fade Meets’ utilises a six-piece choir singing in unison and puts it at the record’s centre. The choir was assembled by Sophie Dowdeswell and includes former Blue States collaborator Ty Bulmer of New Young Pony Club. Their performances were largely recorded in one take which gives a raw, unpolished quality to what could otherwise have been a studio-bound project.
If ever there was a misnomer of a title, it would be ‘Quiet Refrain’ which gives the album a booming and ecstatic start. The choir soars and are accompanied by wonky electronics together with strings courtesy of The Elysian Quartet who add to the record’s expansive feel. Apparently, the song explores the fractured nature of memories, though without the guidance of a lyric sheet the overwhelming nature of the choir makes it difficult to distinguish the exact words, the song must rely on the power and emotion of the delivery.
There is a sense of continuity and coherence to ‘Where The Fades Meets’ so that it feels like ten movements from a soundtrack, although each of those pieces do have individual touches. ‘Waves of Pines’ was inspired by forest fires in Dragazis’ spiritual homeland of Greece and has funky electronics and horn punctuation before going full blaze. In contrast, ‘Totality of the Apex’ starts with creepy, anxiety-inducing electronics into which merge stately strings. The opening to ‘White Sands’ effectively introduces calm with the choir singing to the accompaniment of a finger-picking guitar effect before increasingly fast beats and strings return the record to a hyper kitchen sink approach. When they attempt a similar approach on ‘Cold Control’, it works even better by maintaining restraint throughout. The introduction to ‘Restoral’ has the air of a requiem with cello and horns adding a respectful touch before the track builds to the mid-tempo swelling strings and choir mode that is the album’s default setting.
‘Where The Fades Meets’ and its title track were inspired by Dragazis’ fascination with audio fades and his attempt of applying that concept to life itself. That said, this particular song foregrounds the choir who push it to emotional peaks. The combination of electronics and strings give off strong 60s film or TV theme vibes before it fades save for waves of cheers and laughter. The instrumental ‘Beneath the Intrigue’ ebbs and flows nicely, synths and strings at various points taking on leading roles. Its final tune ‘Idle Hours’ was inspired by pandemic lockdowns and has the choir coaxing “find your voice now” and the electronics taking on a psychedelic quality which is pleasingly disorienting.
If fault could be found with ‘Where The Fades Meets’, it would be that ‘Quiet Refrain’ is such an impactful opening that, despite the impressive variations on a theme that follow, it slightly overwhelms the subsequent songs. However, it does guarantee that this Blue States release will not be forgotten.
Blue States: Where The Fades Meets – Out 24 July 2026 (Memphis Industries)
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
