Caviar Glowing is the most realised face of Croatian Amor so far. Over the three pieces that make up the recording a broad spectrum of the projects previous methods are present, but they manage to go further than they have done prior.
Field recordings, voice samples, synthetic melodies and electronic drum rythms blend and bleed in and out of each other. Caviar Glowing is a club record. But rather than being a record to play at a club it is a record trying to portray what it sounds like being there, when night turns back into day under puncturing dance floor beats and in the toilet stalls where you can trade anything you have or is. Where you feel more than you ever did before and know less, the place where ecstasy and paranoia becomes two aspects of the same core emotion, the inescapeable fever of knowing that no matter how hard you dance or how much you take, no one in the room will be as beautiful tomorrow as they are at that point and with every beat morning is getting closer. Caviar Glowing is a record about being in a place, knowing that you are supposed to be somewhere else.
Maurice Scheltens (1972) & Liesbeth Abbenes (1970) provided Caviar Glowing with the b-side etching and cover visual. The duo's technical refinement and attention to detail, coupled with precise compositional clarity, allows them to create beautiful tableaus with a unique, graphic quality. Objects are meticulously arranged into configurations. Flat becomes spacial and vice versa. The context of every element gets questioned and becomes part of an landscape of utopian compositions. Scheltens & Abbenes have quite an impressive resumée, with clients including Yves Saint Laurent, Vitra, Hermès, COS, Louis Vuitton, Balenciaga and magazines such as Fantastic Man, Wallpaper, Pin-Up, and The New York Times style magazine.
For this record they present a tableau of empty glasses, resonating perfectly with the story Croatian Amor is whispering in our ears.