Hong Kong Stingray Doubles Down

For the first time in 15 years, Chet Delcampo is releasing a new album under the aegis of Hong Kong Stingray.

The Deepest Shades of Red, now complete thanks to the release of Part 2 today, is what acclaimed music journalist John Morrison calls a “sprawling double album” that “combines cinematic arrangements and electronic beats with tender songs about connection, the trials of growing older, and the challenges of finding meaning in life.”

Delcampo, who also plays in the Philly band Opal Eskar, spent five years working on Red, which began as a solo project born out of the COVID-19 pandemic but evolved into a low-key jamboree featuring a bevy of prolific pals. Among those who contributed to these songs include Philip Stevenson, Birdie Busch, Kimbal Brown, Karl Blau, Nakita Beauregard, Reese Florence, Heyward Howkins and Todd Erk, Bill Furgusson, Vince Tampio and Sean Hollowell.

Like Beck, Sparklehorse and The Beta Band before him, Delcampo’s Hong Kong Stingray defies categorization by letting the sonic imagination run amok across these two full-length albums that enhance upon the creative trajectory at work in 2009 on the Kid Congo-produced debut LP, and again in 2011 with the A Little Broken Isn’t Bad EP.

Hip-hop, jazz, Island Records era Tom Waits, dub reggae, Smog-esque melancholy. Spacemen 3-indebted bugouts. Macca! The Deepest Shades of Red has it all, sewn together to craft some of this year’s most adventurous rock yet.

Rock & Roll Globe caught up with Delcampo on the eve of Part 2’s release to discuss the mystery behind Hong Kong Stingray.

 

 

How did you initially come up with the concept of Hong Kong Stingray?

I guess the concept was born out of wanting to do something less solo songwriter-ish (than the chet lp’s) and more experimental / messin w sounds etc. The name came from sitting in a diner (w Kid Congo Powers) during the recording of the 1st LP while I was paging through a National Geographic magazine. There was a picture of stingrays in HK. I said what do you think of the name HKS? …he liked it.

 

The Deepest Shades of Red is billed as a double album, yet Part 1 and Part 2 were released as separate entities. What was the thinking behind that decision?

It really was as simple as thinking as in so far as things these days fly by sooo fast (often very good deserving to be heard things sadly), that unless you have significant resources for ongoing promotion, your chances of being close to not at all noticed / considered are pretty good. Splitting it up seemingly gave this batch a better chance of finding a few empathetic ears. As well the two parts, in my mind, make sense in those forms.

 

In what ways do the two halves of this work differ? In what ways do they compare?

A few months ago I’d say that pt.2 is a bit more left field / less song structured but, I’m not too sure about that really. They just make sense to me, as seperate sequencing-wise but, it was mostly just following an instinct to do it that way. They’re probably more similar than different.

 

 

It’s been over 15 years since the last HKS full-length and your debut. Why the long wait?

The last HKS EP was 2011. Since then, I’ve been more interested in more so collaborative projects. We did Later Fortune, Opal Eskar, scored a short film (I also produced some other folks). 

After doing those first solo record things on my own, I had no interest at all in getting on a long road of in the studio alone toil, again. But then the Pandemic happened. For sanity sake, I had to keep busy using the studio I have, and one day realized I should probably finish this batch of stuff. In the middle of that however, we still needed to finish the OE stuff. After which I picked this stuff back up. It was mostly then that I somehow had the good sense to invite some friends over to be special guests. That gave it a fresh perspective, more enjoyment and renewed sense of purpose.

 

What inspires the jazz elements of the album?

I really couldn’t say. I mean, I don’t hear those kinda elements really but,? I suppose when you love different kinds of music some of that gets in there. I wasn’t operating from a place of intent towards a sonic department as much as just intent to expore on my own level sounds I’ve heard, and find interesting but feel inclined to explore further with or, simply seaking to heal oneself through sounds one finds pleasing some how. I could understand if it’s a short sighted way to go about it from anothers view but, I’m super lazy and act quickly and out of nothing more than an instinct, or feeling that if this works, for me, right now. That’s ok.

 

How did you come up with the arrangement for your version of Paul McCartney’s “My Love”? What inspired you to cover it?

As simple as hearing it one day in the car, it triggering my youth / nostalgic feelings and thinking why not. I also couldn’t find too many other covers of it so in that way, it makes more sense to me if it hasn’t been covered a bunch. The arrangement doesn’t stray all that far from Sir Paul’s really. I later wanted to add a Yoko cover to Pt.1 thinking the potential contrast was kinda amusing. Couldn’t get that one done in time though.

 

You have a lot of cool folks on this album. What does their presence say about the evolution of this project from its start during the pandemic?

How much it sucks to do it all yourself. As well, feeling grateful to be friends with some foilks within a fertile Philly music landscape.

I once had an email exchange with FM Cornog (East River Pipe) where we talked about the plight of doing a record completely on your own (as he’s done all his) isolated, playing everything, one person’s ht etc. There was a theme we agreed on being, “soul sucking nightmare” ..like all the toil minus the interactive fast decision making that helps things move along with “a beneficial serving the moments intent & latitude” Plus much of the enjoyment that happens via shared experience. So after the good times I/we had with Opal Eskar, I had very little interest in diving back into the batch of stuff I’d started, and tracked on my own, to further sift thru the dirt / boil it down etc. even though I wanted to finish it. So I thought let me try to invite some friends to special guest on it. Toward the end of the almost six year stretch, I’m not trying to sound hyperbolic by saying it phycologically brought me (brought myself) to a close to depleted mental place. The friends that kindly stopped by for an afternoon here and there, brought appreciable fresh air.

I should also say, Philip (Stevenson) helped significantly as he’s playing guitar on four tracks I think, plus some bass or key adds on a few. Plus a remix for one trk, a few vids & a few cover art things… I barely knew Phil back in LA in the 90’s but we’ve been much more in touch recently, and we’re lucky to have his clear talent be a part of this.

 

VIDEO: Hong Kong Stingray “An Iris” 

What new hip-hop inspires you these days?

I like much of it. I think MF DOOM was freaking untouchable, Frank Ocean, Flying Lotus instrumentals & production, Knxwledge, Eminem, Kendrick, Vince Staples…

 

“Films Shot On Trains” is a great song. Silver Streak is my favorite film shot on a train. What’s yours and why?

Interesting. I have a vivid memory of being a kid watching something that was shot on a train trip that was very spooky, yet romantic. It’s more of a emotional imprint it left on me, I actually don’t even know what it was!?

Can’t say a favorite but, The Train, Breakheart Pass, Murder on the orient express, and Strangers on a train come to mind. Also, The taking of Pelham 1,2,3 from 1974. I just love the vibes, limitations & sounds surrounding the dialogue, and images that permeate the specific filming style.

 

Any touring plans for these albums?

Although I’d at this stage really like to (used to not be so good at it, and found it too unnerving). But I’ve had an injury that thwarts being able to raise my arms guitar wise etc. Even in the studio, I’m maybe good for 1-2 takes before pain becomes too much. As well, to not suck live takes much getting solid as a band ime. That means a commitment that is tough to come by without a label, resources and money frankly. I’ve been told the stuff I’ve put out there is not so easy to work up live so, to do so for a hand full of shows means it not being so good till the end of the stretch. Maybe not so reasonable. But.. I’d like to keep it open if it became a more plausible option.

I’m just now into decade six starting to think I could pull a set together material, and confidense wise, that sucks less enough, to make it potentially enjoyable for all involved. At least in theory, in my head anyway.