Utterly enchanting, snow fallen beguilement courtesy of Chloe March. Second single from her recent Hidden Shoal full length ‘blood red spark’, this be ‘Calypso Wants’ – a beautifully harvested lunar lullaby delicately tripped and teased in the subtle spray and vibrant fusion of jazz noir dialects, torch lit tailoring and ethereal electronic murmurs all sweetly stationed between the flutter by advances of Laetitia Sadier and the dreamy demurs of Musetta and Heather Duby, simply arresting.
The Australian alt-rock band Summon The Birds were introduced last year. Earlier in the month they released the six track LP Blood Love, which is available on bandcamp. A set of songs in to which the listener digs their spoon in sumptuous dumplings of warming music that makes life better for its very presence.
The material is drawn from that well of the creativity of early ’70s progressive psychedelia which they approach from the direction of that materials folk inspired derivative, to create songs that hold a calm, yet multilayered and slightly trippy, texturing without throwing the mind in to a full on psychotropic trip, rather stretching out on scattered cushions while gazing at a ceiling aglow with spinning purple hued crystal refractions of light.
The just under eight and a half minutes antepenultimate track is Journey To The Centre Of The Earth being my pick of the release.
Summon the Birds liken their sound to “Talk Talk picking the locks to Spoon’s basement as The Drones circle”. But let’s declutter. Summon the Birds are a four-piece band from Melbourne, Australia. Blood Love is their second full-length release. They offer up a slightly woozy, somewhat proggy, little bit folky sound. But let’s declutter. Summon the Birds are on the wonderful Hidden Shoal label. They’re not afraid to give a song room to breathe, to let the lyrics tell a story, to create an epic sound. But let’s declutter. Summon the Birds’ new album is out on Friday. It’s worth checking out. Let’s go clutter.
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.