Chloë March

Chloe March“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”textura

Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.
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Discography

 

Starlings & Crows


October 2020

For her fifth album, March drew inspiration from her early childhood in the Warwickshire countryside, nineteenth-century nature poet John Clare, and Lewis Carroll’s fantastical Alice Through the Looking Glass. Throughout the album there’s a palpable sense of wonder at the natural world, shot through with a deep concern for nature’s vulnerability. Starlings & Crows resonates with notions of home on a macro and micro level.

First single ‘To a Place’ is an elegant waltz built around swooning strings and piano. ‘Landing 1969’ sounds as astral as its subject matter would suggest, pulsing at the same tempo as Buzz Aldrin’s heart-rate as Apollo 11 left earth. ‘Remember That Sky’ is achingly emotive, showcasing March’s innate talent for creating an atmosphere of intimacy without compromising compositional depth. Despite running to a succinct 38 minutes, Starlings & Crows is lush and expansive, while distilled to its crystalline essence.

 

 

 

Snow Bird (Single)


December 2018

Following on from her 2017 solo release Blood-Red Spark, and her recent collaboration with labelmate Todd Tobias, Amialluma, ‘Snow Bird’ is a luminous winter song, gently hypnotic and hopeful. The track melds dream pop and found sounds of birdsong to create a crisply detailed emotional landscape, inhabited by March’s uniquely emotive vocal.

 

Todd Tobias & Chloe March – Amialluma


September 2018

After a number of stunning track collaborations on Todd Tobias’s 2015 album Gila Man, Chloe March and Todd Tobias have joined forces on their new full-length, Amialluma. Following on from Tobias’s recent album Massabu Evening Entertainments and March’s own Blood-Red Spark, this new album brings both artists’ distinct musical sensibilities together to create a bewitching brew. Dwelling in a mysterious hinterland somewhere between Cocteau Twins’ seminal Victorialand and The Caretaker’s Persistent Repetition of Phrases, Amialluma dances between the earthly and heavenly. Chloe March’s celestial voice shines a light through Todd Tobias’s dark, fantastical soundscapes, resulting in a sublime, uncanny experience that enraptures and unsettles in equal measure.

 

 

Blood-Red Spark


December 2017

In her fourth album, Blood-Red Spark, March continues her exploration of a rich musical seam in which songwriterly storytelling and imagistic soundscape meet. Beautiful ambient/electro-pop soundworlds of warm spaciousness and radiant sensuality are underpinned by a compelling pulse – a vital heartbeat of an album of emotional concealments and revealments, truth and trickery, loss, longing and desire. March leads the listener through an immersive multi-layered world of melodic twists and unexpected harmonic shifts with the confident songcraft of a composer happily at home with her own distinctive musicality, occasionally  reminiscent of Goldfrapp, C Duncan, The Cocteau Twins or David Sylvian, using her voice as intimate centre point and textural instrument. The single ‘Let It All In’ is at the heart of this intimacy, distilling the emotional magnetism that March brings to all her work into an intense shot of magic and liquid melancholy.  Blood-Red Spark is further evidence of an artist gathering her musical forces and transforming them into shimmering gold.

The Orpheus Pavement


March 14 2016

The Orpheus Pavement is the new six-track EP by English artist Chloë March, featuring new song ‘The Orpheus Pavement’, along with two originals from her acclaimed album Nights Bright Days and three remixes (by Lvmark, Sam Atkin, and Chloë March). The Orpheus Pavement is dreamy, slow-motion pop music, pulsating with sensuality. Listening to the EP feels like surreptitiously ingesting laudanum and wandering half-dazed through a secret garden that’s slowly shifting and warping around you. As with so much of Chloë March’s work, it was inspired by the mythical – the largest Roman mosaic ever found in Britain, which depicts Orpheus charming nymphs, tigers and other creatures with his songs. In this instance, the story is just the start, as March’s compositions bloom from reverberating piano and voice into evocative soundworlds that contain multitudes. Two of the songs are further transformed by remixers Lvmark, Sam Atkin, and March herself, into shimmering refractions of their former selves. Lvmark is an electronic music producer hailing from Northern Sweden, drawing influence from the isolation and vastness of his homeland to create echoing electronica. Sam Atkin is a Fremantle-based ambient and experimental producer operating out of his shed-bedroom, who released his debut album Gently, Quietly in 2015 through Workplace Safety CDRs, and has been keeping it slow and sad ever since.

To Set The River On Fire


February 2015

The new EP release To Set The River On Fire opens a window into a new universe of possibilities: Hidden Shoal artists remixing each other’s music. In the first of what we hope will become an ongoing series, English dream-pop artist Chloë March takes on a track from the latest album by German experimentalist Markus Mehr – and vice versa. Listening to ‘Buoy (Chloë March Remix)’ feels like watching Chloë March creep tentatively into Markus Mehr’s shadowy soundworld, casting her radiant voice around the room like torchlight. While on ‘Ember (Markus Mehr Remix)’, the original’s beautifully simple arrangement for voice and piano is trapped within a hall of industrial-sized mirrors, anxiously roving around in search of escape. Each remix complements the other, masterfully re-interpreting the source material while inviting fresh listens to the original.

Nights Bright Days


November 2014

Although often compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own unique path, writing, engineering and producing from her studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences on Nights Bright Days to create poetic, emotionally charged and atmospheric songs and soundworlds. Four years in the making and originally self-released in 2013, Nights Bright Days is a cycle of songs as dreams, imbued with imagery of darkness and light, night and day. The album embraces elements of jazz, classical, folk and dream-pop, and features guest musicians on bass clarinet, soprano sax, French horn and guitar. Nights Bright Days features single ‘Winter Deep’, a shimmering waltz that opens the album with weightless grace.The Hidden Shoal re-release also includes the bonus digital EP Under The Day which features six previously un-released tracks.

Under The Day


November 2014

A set of daydreams that form a miniature B-side to the album Nights Bright Days, this is a collection of six songs including the piano ballad ‘May’ and the dream-folk synth/harp reverie for the oldest tree in Kew Gardens ‘Old Tree, Mon Coeur’ that garnered Chloë Soundclouder of the Day earlier in 2014 – ‘Dreamy voice… A magical atmospheric song’. The new songs on this EP include ‘Ballooniad’ inspired by tales of the early Balloonists lifting off from coastal cliffs, a dreamily buoyant track tethered to a circling bass and ‘Big Tree Engine’ a minimalist reflection centred around deep jazz-inflected piano chords inspired by an ancient tree in central London.

Politik


July 2012

Chloë was commissioned to compose a score for the dance-theatre piece realPolitik, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   realPolitik was a re-working of The Green Table, a tanztheater piece created by German choreographer Kurt Jooss in 1932. The Green Table explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, Politik mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, Politik offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.

Garden On The Boulevard


November 2009

Garden On The Boulevard is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.

Divining


November 2008

Chloë spent three years writing, recording and producing her second album Divining (2008). Inspired by water and featuring Chloë’s trademark poetic lyrics and immersive, cinematic soundworlds, Divining journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.

With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.

 

Snowdrop


November 2004

Chloë March’s first album includes pared-down ballads for piano and voice and her first explorations into more epic, multi-layered highly evocative soundworlds. “Sophisticated songwriting… a trace of David Sylvian’s jazz-tinted sound…The utterly gorgeous melody and March’s singing are exceptional. Snowdrop is a thing of beauty.”Collected Sounds

Biography

Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.

Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album Divining in 2008. Prior to Divining, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album Snowdrop in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack Politik. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album Bloc4. Her latest album, and her first for Hidden Shoal, Nights Bright Days, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.

News

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Reviews

  • Chloe March “Starlings & Crows” Reviewed at Music Won’t Save You

    (Translated Via Google Translate/Apple Translate)

    “Having brilliantly overcome the parenthesis of organic collaboration with Todd Tobias (“Amialluma” 2018), Chloe March returns to solo creation, accentuating the dreamy characters and evanescent atmospheres of the previous “Blood-Red Spark” (2017). On the fifth album, the English artist now proves to be fully at ease in rarefied and often arrhythmic settings, to which her sinuous interpretations give enveloping dynamics and sinuous harmonic flows.

    The eleven tracks of “Starlings & Crows” are the result of an immediate and very sophisticated elaboration process, which derives from the comparison with places and personal memories, filtered by an approach of enchanted candor, faithfully reflected by soft synthetic stratifications, marked by occasional pulses and fragile watermarks of notes. The delicacy and apparent vulnerability that transpire from the work are paired with the clear awareness of Chloë March in her vivid dream-pop emissions, arising from an undoubtedly personal dimension but calmly aimed at universal emotional spaces.”

    - Music Won’t Save You

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  • Chloe March “Starlings & Crows” Reviewed by Craig Laurance Gidney

    Starlings and Crows, the new album by Chloë March, is an autumnal song cycle full of rich electronics, dark honeyed vocals and startling touches, like crystalline piano chord progressions and shimmering autoharp strums. It’s richly atmospheric, full of nature imagery and Romantic (with a capital R) reveries. Everything note played or sung is placed with jewel-like precision. It’s a song suite, but there are highlights, like the tentative piano ballad “All Things Good” or the cinematic blur of “To a Place,” and “Remember That Sky” could be an Adult Alternative single. It reminds one of the misty electronic pastorals of Virginia Astley’s “Hope in a Darkened Heart,” though March has a plaintive alto compared to Astley’s boy soprano tones. Other references: “The Sensual World,” by Kate Bush, “Secrets of the Beehive” by David Sylvian or the 4AD era of folk singer Heidi Berry.”

    Craig Laurance Gidney

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  • Chloe March ‘To a Place’ Reviewed at Trust The Doc

    “It is honestly a coincidence that two singer-songwriters who have blown me away this month share my name! But none of us are related! The ever-consistent Chloë March returned and stormed into the fresh faves with the haunting melancholy of To a place. Like all her best songs, it has an otherworldly quality with swirling synths and Chloë’s fantastic alto voice delivering a melody that cuts my emotions to ribbons. I duly chose it to be my Vanishing Point track on Ming & Jon’s Monday Night Ride Out show on Exile FM. Opinion from all those who commented was unanimous on the song’s unique beauty.

    March has also been on my radar for a while and she returned with a stunning track called For the world which I also picked as a Vanishing Point track. We had the luxury of her performing it live in lockdown with just guitar and voice for Trust The Doc TV while being able to play the full production version on my radio show. The live version underlined the quality of her vocals and was compelling to watch and listen to. Look it up on Edition 9 of the TV show if you have not already done so. Then the single showed what could be done with such a well-written song, brooding and building from minimal start before hitting with a kind of coda at the end that is butterflies-inducing. March is currently studying at the amazing Institute of Contemporary Music Practice where I am likely to be delivering some lectures in the new future. She is in the right place for her considerable talent to be guided in a positive direction.”

    Trust The Doc

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  • Chloe March ‘To a Place’ Reviewed at Fifty3 Musings on Music

    It wasn’t so long ago that I was writing about bird gatherings (4 September) to preview Emily Barker’s fine new album, A Dark Murmuration of Words. English ambient-pop artiste, Chloë March, is now getting in on the act with the release of Starlings & Crows, due on 23 October. The album is trailed quite brilliantly by the gloriously sensual single from it, “To a Place”. The song appears inspired by a collision of the natural world and something akin to Alice’s experience through the looking glass. In this case, the conduit is a hole in an old garden wall.

    March’s delicate alto glides through the minor modulations of the song effortlessly as she sings of longing for a loved one, of falling into a place of memory and imagination. There is a subtle menace implicit in some of March’s lyrics which counterbalances the beauty of their delivery. Hardly a new girl on the block, the upcoming album will be her fifth in a career spanning 16 years. While we await the full album, an investment in the back catalogue of this gifted, independently-driven artiste is highly recommended.

    - Fifty3 Musings on Music

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  • Chloe March ‘To a Place’ Reviewed at Fresh on the Net

    “This song was a nice juxtaposition against the previous on the list. In another world we are whipped off by the winds to a new environment and already charmed by its surroundings. I felt overwhelmed by the imagery, such was its power. Like finding a fascinating painting in an art gallery, you just cannot tear yourself away. Multi-faceted, layered, textured and dextrous. Chloë March reminds me a lot of Sarah Barker from Zero 7 fame. There is a sexual tension which emerges as she leads us through a hole in the old garden wall “I’m not sure I want this at all, but light is flooding through you”. Like a fine meal, everything is considered and delicately plated up, from the keys to the bass to the vocals. Achieving what is, in my opinion, a great song.”

    Fresh on the Net

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  • Chloe March ‘Snow Bird’ Reviewed at Trust The Doc

    “Staying on the subject of semi-classical and beautifully ethereal Pop music, TTD favourite and, as I always feel obliged to point out, no relation Chloë March rounds off what has been quite some year with  winter tune entitled Snow Bird. So I was delighted to receive her email telling me about the track. It finds her voice floating in otherworldly space between swirling synth patterns and cool ambience. Chloë has recently released an album of collaborations with US producer Todd Tobias (which included the extraordinary single Lallulow) and earlier in the year her single Wild Cherries with its haunting melancholy and eerie atmosphere became one of my singles of 2018 and remains so. In fact, I have selected as my Fresh on the Net track submission of the year which tells you just how much I love it. Snow Bird is less eerie but just as atmospheric and characteristically unique. There is a parallel universe somewhere in which Chloë is an international star. At least there should be.”

    Trust The Doc

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  • Todd Tobias & Chloe March “Amialluma” Reviewed by Craig Laurance Gidney

    “A collaboration between musicians Todd Tobias and Chloë March, Amialluma is an album’s worth of atmospheric ambient music that desultorily drifts between a whimsical and eerie tone. All ten compositions have a distinct hauntological ambiance. The soundscapes have the feel of the soundtrack to a forgotten children’s movie. Music box melodies, echoed bell-like tones and 60s Sci-Fi sounds are woven together, mostly in a halcyon mood that gets disturbed by the occasional dark chord progression. March sings, purrs, trills, murmurs and chants words in an invented language that manages to be both soothing and disturbing, like a feral child raised by nature. The resulting suite (which is how it is supposed to be listened to) reminds of me of the work of the English band Pram, (who share a similar tonal palette crossed) with the Cocteau Twins at their most tranquil.”

    - Craig Laurance Gidney

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  • Todd Tobias and Chloe March ‘Ma Leila Lulla’ Reviewed at Tome To The Weather Machine

    “One time Robert Pollard collaborator and Ohio-based soundscape designer of bright acoustic instrumentation and brooding, droning tones, Todd Tobias and UK vocalist/collaborator Chloë March pull down a sense of mysterious calm on their first single from their collaborative record. It’s easy to imagine these tracks unfurling like morning fog across a heavily wooded valley. The uneasy drone and ebullient acoustic guitar settling in among the nestles and leaves of trees in that low place.”

    Tome To The Weather Machine

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  • Todd Tobias & Chloe March “Amialluma” Reviewed at Textura

    “If there’s one word that describes Amialluma, a thoroughly enrapturing collection by English vocalist Chloë March and American instrumentalist Todd Tobias, it’s bewitching. It’s not the first time the two have joined forces, March having earlier guested on his 2015 set Gila Man, but it is the first time they’ve shared equal billing on an album—a fitting gesture as both of their contributions are integral to the musical outcome and its narcotizing effect. Known for his work with Guided by Voices, Tobias is the less familiar textura presence of the two; March, on the other hand, has been mesmerizing us with her vocal gifts and atmospheric songcraft for many years now, most recently with her superb solo outing Blood-Red Spark.

    One thing about Amialluma in particular merits immediate mention, that being the duo’s decision to have March sing newly invented words in place of a known language—a critical and brilliant choice, critical in allowing the music to sever any and all connections to real-world content and relatedly brilliant in bolstering the ethereal, dream-like character of the music. Yes, the move does understandably invite comparison to a similar approach adopted by Cocteau Twins, yet Amialluma never feels derivative or as if the duo’s following a path laid out by another. Amialluma carves out its own distinct and self-contained space, one deeply celestial in tone.

    Tobias’s gauzy, keyboards-based soundscapes sever earthly ties from the moment “Lillavva” establishes the album’s heavenly aura, which is bolstered even more when March’s soft, sensual utterances appear; the aptly lulling “Ma Leila Lulla” and serene closer “Cherra Leilahi” drift like gently floating clouds of choral whispers and fragile vocal musings. In some cases (e.g., “Shehehs”), Tobias’s ambient soundscaping exudes a brooding, industrial-ambient quality that suggests darker spaces have been entered, a quality that March naturally responds to in kind.

    She’s in exceptionally fine voice throughout, and demonstrates remarkable invention and a bold absence of inhibition in the myriad vocal effects—coos, stutters, trills, and the like—she drapes across her partner’s backings. In “Lallulow,” she metamorphs before one’s ears from a human form into something more abstractly creature-like, whereas “Inttavei” sees Tobias crafting a mysterious minimal backdrop for her to emote against, the singer responding to the sound design with upward swoops and entranced murmurings.

    Text in the accompanying press release suggests that a narrative of sorts was conceived for the release involving a child’s journey from the safe haven of its mother’s care through shadowy realms that are eventually overcome. Truth be told, I’d rather pretend no such narrative exists in order to allow the music to most deeply inhabit its own enigmatic space sans grounding in conventional human experience. March’s voice and Tobias’s music together communicate perfectly well on their own self-defined terms, and no real-world representational anchor’s needed to enhance the presentation.”

    If there’s one word that describes Amialluma, a thoroughly enrapturing collection by English vocalist Chloë March and American instrumentalist Todd Tobias, it’s bewitching. It’s not the first time the two have joined forces, March having earlier guested on his 2015 set Gila Man, but it is the first time they’ve shared equal billing on an album—a fitting gesture as both of their contributions are integral to the musical outcome and its narcotizing effect. Known for his work with Guided by Voices, Tobias is the less familiar textura presence of the two; March, on the other hand, has been mesmerizing us with her vocal gifts and atmospheric songcraft for many years now, most recently with her superb solo outing Blood-Red Spark.

    One thing about Amialluma in particular merits immediate mention, that being the duo’s decision to have March sing newly invented words in place of a known language—a critical and brilliant choice, critical in allowing the music to sever any and all connections to real-world content and relatedly brilliant in bolstering the ethereal, dream-like character of the music. Yes, the move does understandably invite comparison to a similar approach adopted by Cocteau Twins, yet Amialluma never feels derivative or as if the duo’s following a path laid out by another. Amialluma carves out its own distinct and self-contained space, one deeply celestial in tone.

    Tobias’s gauzy, keyboards-based soundscapes sever earthly ties from the moment “Lillavva” establishes the album’s heavenly aura, which is bolstered even more when March’s soft, sensual utterances appear; the aptly lulling “Ma Leila Lulla” and serene closer “Cherra Leilahi” drift like gently floating clouds of choral whispers and fragile vocal musings. In some cases (e.g., “Shehehs”), Tobias’s ambient soundscaping exudes a brooding, industrial-ambient quality that suggests darker spaces have been entered, a quality that March naturally responds to in kind.

    She’s in exceptionally fine voice throughout, and demonstrates remarkable invention and a bold absence of inhibition in the myriad vocal effects—coos, stutters, trills, and the like—she drapes across her partner’s backings. In “Lallulow,” she metamorphs before one’s ears from a human form into something more abstractly creature-like, whereas “Inttavei” sees Tobias crafting a mysterious minimal backdrop for her to emote against, the singer responding to the sound design with upward swoops and entranced murmurings.

    Text in the accompanying press release suggests that a narrative of sorts was conceived for the release involving a child’s journey from the safe haven of its mother’s care through shadowy realms that are eventually overcome. Truth be told, I’d rather pretend no such narrative exists in order to allow the music to most deeply inhabit its own enigmatic space sans grounding in conventional human experience. March’s voice and Tobias’s music together communicate perfectly well on their own self-defined terms, and no real-world representational anchor’s needed to enhance the presentation.

    Textura

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  • Todd Tobias & Chloe March “Amialluma” Reviewed at Music Won’t Save You

    [Translated via Google. Read the original here.]

    “For some years now the paths of Chloë March and Todd Tobias had come to cross the respective elliptical trajectories, united by the creation of imaginary soundscapes but both very heterogeneous and unpredictable. Their collaboration finds for the first time organic results in the form of a fully shared album, which given the profile of the two artists can not but arouse curiosity about the point of balance they have identified between their respective complex expressive profiles.

    Well, “Amialluma” does not disprove expectations, dispensing along all its ten tracks the facets of an imaginary microcosm, brushed by the two artists making extensive use of improvisation, in particular that of the enchanted vocalizations of Chloë March. Drawing on the more ethereal and dreamy side of his expressiveness, the German artist elaborates a sort of angelic cantilery made up of pure harmonic essence, so as to renounce any form of substantial meaning, according to a modality that inevitably refers to the Cocteau Twins. However, affinity also lends itself to the atmospheres on which they lie, resulting from intricate textures, which amplify their dreamlike nature through fluctuating synthetic layers, modulated reverberations and a changing blanket of microsubes.

    The constant recombination of these elements directs the songs of “Amialluma” now in a caressing harmonic direction, now towards a hallucinated environmental dimension, though diluted by the delicate conceptual trace underlying the work, inspired by an idea of ​​instinctive interaction between man and nature . The pure creative instinct is precisely what animates the meeting between Todd Tobias and Chloë March, in a conjugation of languages ​​condensed into sound sketches that really keep the daring promise with which the album is presented, or conjugate the fragile grace of the Cocteau Twins with the complex mental processes of The Caretaker: centered goal, in the form of a sequence of gently restless lullabies.”

    Music Won’t Save You

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Licensing

Chloë March’s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please contact us with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.

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