Colour Film shares new single, “Ain’t Coming Back” Ahead of Upcoming Album, Half An Hour
Matthew de Zoete’s fondness for preserving unique moments has been a foundational part of his music since he arrived on the Canadian scene in 2006, first under his own name and then as ColourFilm since 2016. The Hamilton, Ontario native’s songwriting has been widely praised for its atmospheric blend of folk and pop, with his lyrics capturing those emotions that, once experienced, remain in our consciousness to help guide us through our lives.
That approach has taken on a deeper meaning with the new Colour Film album, Half An Hour, recorded just prior to the pandemic in January 2020, and delayed following an injury de Zoetesuffered that almost derailed his music career completely. Now having partially recovered, de Zoeteis ready to share An Hour, and revisit a time that already feels like another life.
The first single, “Ain’t Coming Back” reflects the dreamy folk-rock Colour Film has been known for, but is now augmented by supporting vocals from Kari Pop, and more brilliant soundscapes from de Zoete’s longtime producer/guitarist Les Cooper.
Quote From Jenna Melanson, Editor
“The song’s lyrics firmly express the determination to leave the past behind and find freedom elsewhere, emphasizing a definite refusal to return. It captures the widely relatable idea of striving for independence and chasing dreams, connecting with anyone who desires to escape from familiar yet confining environments.”
Half An Hour was produced by de Zoete’s longtime collaborator Les Cooper and features stellar contributions from vocalist Kori Pop—who accompanies de Zoete on all tracks—along with backing from Cooper, Christine Bougie and Dan Rodrigues.
De Zoete explains,
“We rehearsed on a Tuesday, and then over the next three days the songs were recorded live off the floor with everyone in one room. Kori and I sang our vocals live together as we were tracking the songs, and I think it shows. It was an intense experience, knowing I had to deliver on voice and guitar in that environment, but it was also liberating knowing the only overdubs would be a few flourishes to the keeper takes.”
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