‘‘Nights Bright Days’, the third album from British singer-songwriter Chloë March, arrives in the wake of her memorable performance on Bloc 4, the most recent Hidden Shoal collection by Jumpel... [hers is] a style closer in spirit to entrancing artpop than ambient composition per se... A poetic quality pervades her material, and in that regard it doesn't surprise that many songs reference mythological tales and figures such as Eurydice and Orpheus. Crafted with obvious love and care, the songs unfold instrumentally as dream-like soundscapes where March's piano and synthesizers are complemented by guitar, French horn, and woodwinds contributions from Tommy Ashby, Emma Bell, and Ted Watson, respectively. Her music's defining sound, however, is her luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic.... In a typical song, she bolsters her singing's impact and the music's entrancing potential by accompanying the lead vocal with intricate, multi-layered counterpoint (“Orpheus at Sea” one good example of many). At such moments, it's hard not to think of the mythological Sirens who used their hypnotic voices to lure sailors ashore, wrecking their ships against the island's rocky coast in the process......
As key as her singing is to the project, its sound design isn't incidental to its impact, as March enhances the songs with subtle touches, such as the twinkling mallet instrument that repeatedly ascends within “Winter Deep” and the soprano sax and bass clarinet haunting the backgrounds of “Sunless” and “Sometimes the Dark.” While the greater number of songs reinforce the enchanted character of the album's tone, there are a few, such as the piano-based reverie “Eucalyptus Night” and the jazz-inflected “Cafè des poétes,” that evoke the image of March singing softly within a dimly lit nightclub, her voice a comforting tonic for the weary listener. One imagines March's song cycle would appeal to listeners of artists like Kate Bush, Jane Siberry, and The Cocteau Twins.’ textura
‘Nights Bright Days’ is an evocative and poetic tale of sensual sounds arranged in a series of unique musical dreams... I compared her voice to Beth Gibons or Mimi Parker, but I cannot ignore such singers as Tracey Thorn and Tori Amos ("Ember", "Le Roi Lonely" and "Dream Swim")
The recording ‘Orpheus Head’ remains deep in the memory, with electronic backing, piled vocals, piano phrases and an elegant dream-pop vibe. In turn, the beautiful ballad 'Eurydice On The Underground' recalls the late 90s work of David Sylvian’nowamuzyka
‘Chloë March's third album loosely fits in this category (the concept album). But you won’t find an overarching narrative theme. Instead, you’ll find a suite of songs that use image-patterns of night, winter, light, dark with a sub-theme of Orpheus and Eurydice running through three compositions. And I use the term ‘composition’ deliberately, for these amalgamations of synthesized programs, with delicate colorings of piano, saxophone, zither and guitar are closer to the work of Erik Satie than they are to traditional pop music. March’s work most recalls David Sylvian’s classic album, Secrets of the Beehive, with its slow burning atmospherics that borrow from folk, classical, jazz and electronic ambient music. Her smoky velvet alto also shares Sylvian’s ruminative phrasing. The use of zithers (in this case, autoharp and psaltery) at times recalls the hermetic, textural compositions of acoustic-ambient artist Colleen. Nights Bright Days is like musical incense. Recommended for fans of Sylvian, Virginia Astley, and Goldfrapp (in the vein of Felt Mountain or Tales of Us).’ Strange Alphabets
‘A command of the keyboard reminiscent of Kate Bush, Tori Amos or Nina Simone’… hear the three years of perfectionism’ Tom Robinson BBC6 Music
‘Wow, this is a beautiful record. March has a voice that blends perfectly with the lush arrangements and intricate piano tinkling. It can be soft almost whispery, and also full and clear. There is quite a lot going on here musically. The aforementioned twinkly piano, but there are also according to her bio: “marimbas, harp, strings and shimmering beats with French horn, found sounds of paper, glass, and wind chimes.” I really enjoy songs that incorporate many layers and instruments (if paper is an instrument, and heck, why not?) and this is a perfect example of this method done right. Stand out songs: Written on Water, Sea Bell and title track, Divining. Seeing as this whole album was inspired by water, it’s no surprise that this is perfect for those cold, rainy days spend under a blanket with tea and a book (and if you’re lucky a dog or cat curled at your feet.’ ) Collected Sounds
‘Electronic dreampop with dashes of jazz and artsong. One woman band March crafts an ethereal song cycle based around water imagery, using the intricate minimalism of Steve Reich, layers of sparkling keyboards and her deep, sensual alto. Ms. March is a more pastoral Kate Bush. It's the sort of music that would accompany a movie version of Wuthering Heights (as directed by Peter Greenaway)’ The New Gay
‘Chloe March's album Divining has been mentioned a number of times on ecto. ‘It's as lovely as they say. It's almost a score without a film. There's a sense of place, earnest and immersive. And what's truly remarkable is that it's not at all the samey new-age-compilation that the song titles might suggest. Listening to it is interesting. There are things to discover. There are ways to become lost.
Take "Soft Rain" There's more tumult here than you might expect from the title: a pitter-patter of a drum part, a backdrop more propulsive than droning. And there are quiet moments, too, when it dies down so the piano can plink out the raindrops. The song demands a window and a spring shower, but even the latter's not necessary. It'll provide one.’ Self As Fractal
‘It’s a world that everyone can see and touch… but to hear it’s secret metamorphosis to music you must be invited. ‘Divining’ is the invitation. A collection of reflections set to the most imaginative assemblage of a mesmerizing voice and artfully filtered sounds.’ Julians Flight
‘Divining' is a gorgeous semi concept album, water imagery being the central conceit. Her voice is a smooth silky alto and her hypnotic compositions are drenched in misty synth orchestrations, Satie-piano pieces, wind chimes, French horns and harps.*Highly recommended* for lovers of ethereal dream pop.’ Ethereal Lad
For Collaborations with Jumpel
'The expressive and acoustic qualities of Chloe March’s own experiments and personal poetry resonates intimately with Joe Dürbeck’s immersive and powerful electronic fragments to a create a very sensuous experience.' Igloo Magazine
'Vocalist Chloë March['s] humanizing presence elevates every song on which she appears... Alluringly hushed... Her sensual vocalizing [and] soft, smoky delivery leaves a haunting impression' textura
'An extraordinary vocal from March, at times reminiscent of Beth Gibbons and Mimi Parker of Low' Nowamuzyka
‘English singer Chloë March has a gorgeous voice and a way with writing great songs. The song "Diamond Skin" evokes eighties singer Virgina Astley. There's also a trace of David Sylvian's jazz-tinted sound. Emma Bell's French horn adds a delightful touch."Snowdrop" continues the sophisticated songwriting. March's clear voice and the air of melancholy in this song are just lovely. "The Fisherman's House" is an evocative tale. The utterly gorgeous melody and March's singing are exceptional. "Dog-Rose" is a minimalist song in the vein of Sylvian's "September". March's voice and a piano are all we have here and all there needs to be.
"Snowdrop" is a thing of beauty and a bright future must beckon for Chloë March.’Anna Maria Stjärnell, Collected Sounds
‘The effusive mood of the atmospheric ‘Perfume and Woodsmoke’ starts invocatively then spreads luminously as Chloë’s majestic voice arches skyward. ‘The Light Room’ is a pensive reflection in voice and piano solo, fittingly so, with uninsulated emotion; the spare beauty comes through…Much is to be said about Chloë’s musical tapestry, most prominently it’s visual/cinematic quality. The lyrical imagery and flow, the harmonic coloration, the depth of rhythmic undertow - are all geared towards presenting the intensity of conditions and states of the mind – an inner theatre made tangible by sound.’julians flight