THE WORLD OF Interview, Christopher Colonna

INTERVIEW, CHRISTOPHER COLONNA

In the mid 2000s, music duo The Bumblebeez—comprising siblings Christopher Colonna and Pia Colonna (AKA Queen ViLa)—catapulted themselves onto Australian charts with the track “Dr Love,” part of an explosive, hypnotic and jittering trip-hop catalog. Since then, Colonna, a producer and multi-instrumentalist, has collaborated with everyone from Beyoncé to Devon Lee Carlson and Troye Sivan (by way of Sivan’s fragrance line, Tsu Lange Yor). Lately, he’s been working a lot with the artist Byron Spencer, and likens their shared creative energy to “a turbo butterfly.”

Colonna first began producing music as a student at Pratt, where he’d craft immersive sound installations. In conversation, he makes frequent analogies between the act of making music and visual art—sampling and Dadaism, to him, are cosmic twins. The former is “a form of sonic, ready-made art, repurposing existing sounds to challenge convention.”

I LEARN TO BREATHE WHILE UNDER THE TREES AS THE DIGITAL WORLD AWAITS MY KISS

THE WORLD OF

Were you a creative child? How did you come to music?

CHRISTOPHER COLONNA

As a child, creativity was my constant companion. Collage became a beloved artistic outlet—I relished the tactile joy of cutting up magazines, weaving disparate images into new, imaginative works. Music emerged from a parallel world of exploration. Much like my affinity for collage, I delved into the art of cutting up tapes, extending and sampling pieces that resonated with me.

THE WORLD OF

Describe your current surroundings.

COLONNA

I am in Surry Hills, Sydney, looking out the window at a large skinny palm tree; the wind is tickling the branches and it’s dancing slowly. It’s quiet with a few bird chirps echoing. The clouds are fluffy, flowing unhurriedly. A blue sky is the biggest comfort in my life. I can let my eyes go as far as they need to.

I’m surrounded by vintage Japanese equipment: TR808, TB303 and a Yamaha 4 track tape machine.

THE WORLD OF

Can you explain the genesis of your soundscape for The World Of?

COLONNA

I let the essence guide me, connecting sounds to the eternal cycle of existence. The breath was the first sound, which evolved into a world of different elements. The process mirrored the unfolding of life—a delicate dance of tones evolving, intertwining and echoing. The mood references drew inspiration from the beauty of the organic, capturing the essence of a quiet sunrise after a cosmic night.

THE WORLD OF

You mentioned this piece is “a natural breath in the metamorphosis of digital life.”

COLONNA

Yes—this journey into “the world of” is akin to the naked breath. It’s this unfiltered essence that merges seamlessly with the digital realm. The TB-303 bassline, reminiscent of earth's roots, becomes a primal heartbeat. As the chopped vocals interlace, they serve as whispers from the analog past, seamlessly transitioning into the digital present … The bubbles synth, like oxygen in the atmosphere, propels the composition into the celestial expanse. It symbolizes the essence of life, transcending the earthly roots and fragmented echoes, ushering us into a digital cosmos.

I recorded my breath through an iPhone mic while I was in nature. I wanted to be removed from the digital world. I feel that where you record sounds can be exciting. It’s like the birth of that first stroke.

THE WORLD OF

The works for this project are centered around the idea of being ‘reborn’. What do you believe happens after we die?

COLONNA

I think [our life] keeps going, we come back as something else. The spirit doesn’t die, just the vessel.

THE WORLD OF

What artist—or body of work—are you unable to stop talking about?

COLONNA

My Moroccan rug that I just made, which is based on a drawing of my dead cat "Spranki." I also talk a lot about Marria Pratts, a painter I love.

THE WORLD OF

What do you loathe?

COLONNA

Having honey on my fingers.

THE WORLD OF

You’re hosting a party. What should guests bring?

COLONNA

Good energy and tiramisu.

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