Chloë March’s many strengths are on full display throughout her fourth full-length Blood-Red Spark. On the album’s twelve tracks, her first-rate songwriting skills are well-accounted for, as is the English artist’s talent for crafting compelling instrumental backdrops. But as we’ve noted in the past, it’s March’s singing that is her music’s strongest selling-point: she’s got one of those one-in-a-million voices that could make even the most pedestrian lyric feel like cause for rapture. That being said, as integral as her vocalizing is to the album’s impact, Blood-Red Spark would hardly merit a recommendation if the songs and arrangements weren’t compelling, too.
The latest album by Chloe March is another heady trip through electro pop but really that tag doesn’t do justice to the range of expression. The air is thick with atmosphere throughout and March is a masterful creator of mood. This is just one of the stunning rarefied synth compositions topped with layers of her remarkable voice. I particularly love the dappled pulse of electric piano when the pace picks up for the chorus. It is also a beautiful sound somewhere between The Blue Nile and David Sylvian and as that would suggest very soulful. Wonderbar.
On the fourth album, Chloë March does not stop dispensing the charm of her soothing vocal harmonies, which in the twelve tracks of “Blood-Red Spark” become even more ethereal and evanescent than ever.
Set aside the velvety jazzy settings of ” Nights Bright Days ” (2014), the sound flow that supports the interpretations of the English artist is no longer made up of real arrangements, but rather of constant layers of synth whose lightness recalls the magic of Cocteau More delicate twins.
Simplicity and intimacy seem to be the key words of the work, which however do not contradict the refined refinement of the current expressive dimension of Chloë March, a well-established muse of dilated dream-pop spells.
There may come a time when upon encountering new groove from Chloe March, descriptions such as enchanting and beguiling might prove superfluous, not on this occasion though. A new album, ‘blood red spark’ incoming on the adored Hidden Shoal, from off which ‘let it all in’ has been sent as a herald. A dream like visitation caressed in a twinkling neo classical torch toned wooziness, its delicate folk framing genteelly hushed and seductively surrendered in an evensong intimacy all lost in a moment of reflection. For here an ethereal whispering and the poetic dance of demurred expressionism and ghost lit tenderness forge a quietly alluring waltz whose forlorn crush sighs amid the glow of noir breezed dissipates. And while the press release might rightly point that its beautified and amorphous craft owes to the other worldly spectral reach of both David Sylvian and C Duncan, we here however, are much minded of an unusually vulnerable Jane Weaver sweetly shimmering in the grooves.
Now isn’t this just the ticket, lead out single heralding the incoming arrival of a new Todd Tobias full length via hidden shoal records entitled ‘gila man’, this one going by the name ‘pollen path’ features guest fluttering vocals from Chloe March. Rightly noted by the label press gubbins as being shimmered in the kind of outer worldly ethereal majesty that one might be more accustomed to encountering on outings by the Grails, that said scratch just a little beneath the dream dazed tones and a bewitching folk spectral entrances away all softly smouldered in surrendering rustics and the spellcrafting lull of prettified pastorals that hint of the yearning murmuring free spirited innocence of the ‘wicker man’ as though recast by Tunng.