oday, Sharon Van Etten and Angel Olsen unveil a true knockout of a song, “Like I Used To,” with a gorgeous accompanying video. The track opens less with a chord than with a crash, an announcement to stop what you’re doing and stand at attention: Sharon Van Etten and Angel Olsen are singing together. “Like I Used To” takes its place among the great anthems: a powerful and joyful ode to reclaiming one’s own space. Sharon’s troubadour swagger is sure-footed and stadium-sized. Angel’s inquisition is piercing, evocative, impossible to dodge. The combination of their voices is so beautiful and electric, it’s almost destabilizing, and it’s only furthered by John Congleton’s production, who has worked closely with both in the past: Sharon on her most recent album, Remind Me Tomorrow, and Angel throughout her career on Burn Your Fire for No Witness and All Mirrors.
The song’s stunning accompanying video, directed by Kimberly Stuckwisch and shot in Los Angeles and Joshua Tree at various locations, elevates the overall vibe and free spirit of “Like I Used To.” It is a visual representation that truly celebrates the collaborative nature of these two special songwriters and performers. Watch Sharon Van Etten and Angel Olsen’s Video for “Like I Used To” Both Sharon and Angel have long-admired one another from the close-but-far distance of life on tour, a life that unifies them even as they’ve spent years criss-crossing each other from miles, countries, continents apart. Ask them each about the song’s origin story and they inadvertently stitch a mirror together, a story of mutual admiration and, lucky for us, eventual collaboration. “Even though we weren’t super close, I always felt supported by Angel and considered her a peer in this weird world of touring. We highway high-fived many times along the way…I finally got the courage in June of 2020 to reach out to see if she would want to sing together. I got greedy and quickly sent her a track I had been working on,” says Sharon.
“I’ve met with Sharon here and there throughout the years and have always felt too shy to ask her what she’s been up to or working on,” says Angel. “The song reminded me immediately of getting back to where I started, before music was expected of me, or much was expected of me, a time that remains pure and real in my heart.” To call it magic is to cheapen the connection between these two masters, but when you listen it’s hard to call it anything else.
Today Max Bloom (previously of Yuck) has shared a second single from his forthcoming solo record ‘Pedestrian’, which is set for release on June 18 through Bloom’s own new label, Ultimate Blends. He will also be playing a socially-distanced show at London’s Oslo on July 2nd.
“Palindromes“ is a wistful, understated love song. Bloom explains: “This song is about how I got together with my girlfriend Anna, who also plays bass in my live band (and co-wrote two songs on the album). We were best friends for years, then she broke up with her boyfriend and we got together quite suddenly. It was completely unplanned, but when it happened it felt like a lucid dream. I wanted to write something to commemorate it (Anna has also written a few songs about it too), and after the darkness and grief of Perfume, it felt cathartic for me to write this song.”
The album ‘Pedestrian’ takes its listener into the outside world. And it was here, wandering the city streets and parks against the surreal backdrop of the last twelve months, that Bloom discovered his inspiration for this latest collection of songs. He found himself observing his surroundings and people’s behaviour in a new light.
Over the months, a regular cast of companions (namely Spoon, Beck, and Yellow Magic Orchestra) accompanied Bloom on his increasingly lengthy runs. These references, alongside core influences like Wilco, George Harrison, and Grandaddy, helped bring a fresh pallet of sonic colours and textures to ‘Pedestrian’.
‘Pedestrian’ is the first release on Bloom’s new label, Ultimate Blends, which will be a home to all of his future projects and productions. Bloom has also designed individual artworks for every song on this album, and animations for its forthcoming singles. He also hosts podcast JEW-ISH, a series of one-to-one interviews with Jews from a range of different cultures and backgrounds, aiming to show the nuance that exists within the Jewish world. Listen here.
‘Pedestrian’ will be released on June 18th via Ultimate Blends. Max Bloom will play Oslo in London on July 2nd. Ticket info here.
‘Pedestrian’ track list: 1. Pedestrian – Official video 2. Palindromes – Official video 3. All The Same 4. America 5. The Weatherman 6. Imposter Syndrome 7. Under Green Skies 8. How Can I Love You 9. Twenty-Two 10. Cat On Your Lap
It’s entirely possible that CHAI has been having more fun than anyone else in rock, Japan, or even the world for the last few years. Each of their albums, Punk, Pink, and now Wink, is pop-punk / electro perfection and all of them are brimming with positivity.
Wink continues the trend and starts a new one for the band – collaborations. Ric Wilson, YMCK, and Mndsgn all appear on the album to join the fun. The first track, “Donuts Mind If I Do” is a song about aging gracefully and eating donuts. What’s not to like (especially with that Earth, Wind & Fire-like groove)? “Maybe Chocolate Chips” (featuring Mr. Wilson, whom they met at Chicago’s Pitchfork Music Festival) posits the theory that a birthmark on your body might be a tasty treat.
“It’s okay. Everything is okay.”, CHAI sings on “ACTION” – a sharp dance track inspired by the Black Lives Matter movement that lets us know that we can change dour circumstances by, if nothing else, getting up and deciding to do something. The electro-bass slides into near-goth industrial territory for a great effect. Speaking of dancing, just keep at it during “END” – a bouncy, dance-punk cut with the band yelling “Shut up!” at their doubters and haters and throwing in rap verses because they damn well can.
“PING PONG” (with YMCK), with its video game sounds and aerobic workout beats, is one of the best dance tracks of 2021 and is a song about playing ping pong after spending a day at a spa. The world needs more songs like this, not to mention a day at the spa. I beg to differ with “Nobody Knows We Are Fun,” a song in which CHAI claims no one realizes they’re cool and worth inviting to the party, because (as I mentioned earlier) CHAI are having more fun than 90% of the planet.
“It’s Vitamin C” has a bit of a slow-jam groove to it as “It’s good for you, it’s good for me, it’s good for the body,” they sing, and I have a feeling that their lyrics about orange juice are a metaphor for…ahem, something else. “IN PINK” (with Mndsgn) blends electro-pop with P-funk. The lazy beat of “KARAAGE” is hypnotic and, let’s face it, sexy.
“Miracle” has some thick bass to go along with its booty-shaking beats and sunshine lyrics. “Wish Upon a Star” is another R&B-like jam with soft organ tones and subdued beats. The closer, “Salty,” is about fond memories – sometimes rediscovered through food (one of CHAI’s favorite subjects).
Wink is a bit stripped-down compared to CHAI’s first two records, but is no less fun than them. As always, CHAI deliver uplifting music when we need it most.
Imagine being in a relationship with someone for almost two decades, as well as being in band together, and then deciding to end the relationship but continuing on as a band. How would that affect the writing and recording processes, let alone touring?
If you’re Remington Super 60, and if you’re songerwriter / producerChristoffer Schou and singer Elisabeth Thorsen, you realize that the end of a relationship doesn’t have to mean the end of a friendship or an artistic collaboration, and, along with Magnus Abelsen, you make a fine EP like Nouvelle Nouveau.
Perky, poppy “Talk with You” instantly makes you feel warm and nostalgic for quiet European cafes and mellow afternoons with your lover. The EP is full of references to Schou and Thorsen’s break-up, of course, and the first track alone has lyrics like “All I want is to get close to you so I can talk with you.”, but the EP isn’t gloomy. It’s too bright to be a downer.
The Cure-like bass and guitar on “I Won’t Change My Mind” backs up Thorsen singing, “I don’t know what I can do to make this easy for you…I tried to tell you, but you never understand, but it’s too late now.” The song is a sad tale, but one of shared grief. Both she and Schou know they have to move on from what they had and both know that being okay with it is far better than being spiteful or bitter. “All I Want” has a neat acoustic guitar sound that seems to blend country and psychedelic folk.
Electo-lounge keyboards (vintage ones, no doubt, as Schou loves using and collecting them) start “Still Near,” with Thorsen claiming, “I don’t want to see you again. It hurts when you’re around.” and “I just want to disappear even though you’re still near.” “See This Through” has a bit of a bossa nova flair to it with Schou and Abelsen’s synths and beats and Thorsen’s vocals that are somehow sad and upbeat at the same time. I don’t know how she does it.
“Misconception” has Thorsen tells us (and, let’s face it, Schou) that she doesn’t need saving. Schou and Abelsen’s synth work on it is great, mixing synthwave with dance-pop grooves. Believe it or not, “All Alone” was written many years ago, long before Schou and Thorsen’s break-up. Schou sings lead vocals on it, and one can’t help but marvel at its predictive nature. The acoustic guitar and hand percussion on the track mix well together, and it’s a dreamy send-off.
I don’t know if Remington Super 60 will continue to make music together, but Nouvelle Nouveau is a good sign that they can still create lovely, dreamy art and embrace change. The world would be a better place if we could all have that presence of mind.
Keep your mind open.
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Bloc Party‘s 2008 album, Intimacy, is perfectly named. Every song on the record is about love – new love, lost love, dying love, old love, hopeful love, desperate love, and probably another five or six variations that I’ve forgotten. The album is loaded with Bloc Party’s signature heavy guitars, stadium rock drumming, prog-rock switches, intricate lyric stories, and passionate vocals.
Opening track “Ares” has the band wanting to declare a war and expressing anger and rage in the only way they know how – through warning alarm guitars and car crash drumming (instead of breaking things with their fists). Lead singer / guitarist Kele Okereke wants to punch something, but would rather use those hands that “could work wonders, with their touch listening to dead singers in your room in ’98” for more intimate matters.
“Mercury” brings in electro-beats as Okereke warns “This is not the time to start a new love, this is not the time to sign a lease.” He wants love, though. He’s tired of “sleeping with people I don’t even like,” but “Mercury’s in retrograde” and everything is fucked up beyond belief.
Gordon Moakes‘ bass licks are on fire throughout “Halo” – a powerful rocker that tells a tale of two lovers desperate for a connection (“I ask you for the time, but I am asking for so much more.”). “Biko” is a tragic tale of a lover’s impending death and how there’s nothing Okereke or anyone else can do to stop it. “Was my love strong enough to bring you back from the dead? If I could eat your cancer I would, but I can’t.” The song is a beautiful gut punch.
“Trojan Horse” has Okereke trying to understand his lover’s depression (“You used to take your watch off before we made love.” / “Just take me back to the start, when your earthquake was just cracks.”). Russel Lissack‘s lead guitar sounds like angry hornets during his solo on it. “Signs” is another sad tale, with a ticking, chiming music box as its backdrop, of another lover who has passed from this world (or perhaps the same from “Biko”) and Okereke not quite being able to make sense of it.
Matt Tong‘s percussion and sizzling cymbals mix well with programmed beats on “One Month Off” – a tale of a cheating lover and Okereke claiming “I can be as cruel as you,” but by the end telling her, “If you need time…” Okereke admits his own faults on the choir-backed “Zephyrus” with lyrics like “Baby, I’m ashamed of the things I put you through. Baby, I’m ashamed of the man I was for you.”
“Talons” is story of impending death, but Okereke isn’t afraid of it (“When it comes, it will feel like a kiss.”). “Better Than Heaven” has Okereke settling down a bit and trying to seduce his lover as she becomes more and more tired of him (“You get sadder the smarter you get, and it’s a bore.”). Tong’s drum work on the track is outstanding. Okereke keeps up the sentiment of growing old in love together on “Ion Square,” with lyrics like “Let’s stay in, let the sofa be our car…All the bright lights do is bore me.” The synth-heavy track send the album out on an uplifting note.
Some versions of the album include extra tracks and remixes. The copy I own has four bonus songs and remixes of “Mercury” (by CSS) and “Talons” (by XXXchange). The bonus songs include a sharp post-punk track (“Letter to My Son”) and three electro dance-rock cuts (“Your Visits Are Getting Shorter,” the rave-ready “Flux,” and the slightly gothic “Idea for a Story”), and the remixes are top-notch.
Museum Of Love – the New York-based duo of Pat Mahoney and Dennis McNany – shares the new single/video, “Marching Orders,” from their forthcoming album, Life Of Mammals, out July 9th on Skint Records. It follows lead single/video “Cluttered World” and their “Cluttered World / Marching Orders (Remixed)” EP featuring remixes by Parrot and Cocker Too and Justin Van Der Volgen. “Marching Orders” starts with an irresistible cowbell driven rhythm track. It builds with a propulsive bass riff, a casually whistled melody, and a whole studio load of chaos. Combined together, it’s a hypnotic musical invitation to join Museum of Love’s carnival procession that’s part Blackstar, part NYC block party and part after hours smash up at Mardi Gras.
The video, featuring footage deconstructed and edited by Shaun MacDonald, “is a hallucinogenic dreamscape describing the collective feelings everyone went through over the last year of the pandemic,” says Museum Of Love. “All of us feeling crammed in our tiny apartments like an elephant in a tiny tea house. Time and reality, not computing for many of us.”
Life Of Mammals is a dizzying swirl of chaotic art rock and metronomic dance music. The creative process for Life Of Mammals was approached like an art project while the lyrics throughout are delightfully elliptical, with a thousand valid interpretations. The album was recorded in bursts between Mahoney’s LCD Soundsystem touring commitments. It has been mixed in its entirety by James Murphy (LCD Soundsystem/DFA) and features guest appearances from legendary saxophonist and Arthur Russell collaborator Peter Gordon (The Love of Life Orchestra) and Matt Shaw.
If you’ve ever imagined what a band influenced by Scott Walker, John Cale, Jonathan Richman, dub, Robert Wyatt, post-punk and Krautrock might sound like, then you might finally have your answer – Museum Of Love. Weird, perhaps, but also enormous knockabout fun, at times approaching their song craft with the bombast of “Bohemian Rhapsody,” the outlook of the Marx brothers and matched with the production knowledge of a Basic Channel record. A bewitching combination that rewards repeat listens, it’s doubtful anyone will release a more compelling and beguiling album this year.
Situation Chicago 2 is a fine compilation of Chicago bands and artists, and proceeds go to helping artists and venues affected by the pandemic (which, by the way, is pretty much all of them). The project is part of the CIVL SAVE fund, which needs all the help it can get to support independent music venues throughout the Windy City (full disclosure, some of these venues are my favorite venues in the country).
“Sinistry” by MIIRRORS is a fiery live rock cut with some light goth touches. Robust‘s “Dont Know Why” is a smooth example of Chicago’s vibrant rap scene. The bass line alone on it make impregnate you. Speaking of great example of Chicago’s music culture, Fess Grandiose‘s “Keep the Rhythm Goin'” is a prime one of Chicago house music (a genre that, while popular, still deserves to be better known around the globe). Umphrey’s McGee and Bela Fleck team up on the bouncy and bright “Great American.” Reduxion‘s “The Imperial Boxmen” is sweet funk jazz that will make you want to spin your lover around the room. Speaking of fun, Jeff Park delivers a great instrumental cover of WAR‘s “Slippin’ into Darkness.”
“Drowning” by Neptune’s Core starts side B of the vinyl with strong power-pop hooks. Goth country makes an appearance with The Goddamn Gallows‘ “The Maker.” V.V. Lightbody‘s “Really Do Care” is a slice of dream-pop complete with birdsong and cat’s purr-like guitar. Erin McDougald‘s lovely, sexy “The Parting Glass” is a wonderful exemplar of Chicago’s jazz club scene and makes you want to seek out her live performances.
It’s a good compilation, and proceeds go to a great cause. You can’t miss.
Moon Safari, the classic ambient / house / lounge album by Air (Jean-Benoît Dunckel and Nicolas Godin) was pretty much an instant classic as soon as it was released. I remember reading reviews that more or less called it “cool elevator music.” It’s far beyond such a label. It’s a “mood change” record, as in it can change the mood you’re in or the mood of any room in which it’s played.
The opener, “La Femme D’Argent,” with its ultra-smooth hand percussion and keyboards, immediately shifts your brain into a meditative space and should be played in dentist offices around the world. The song is never in a hurry. It’s about a seven-minute groove beamed into your brain from aliens who might be high. The slightly menacing “Sexy Boy” tells a tale of hyper-masculinity and wanting to be “as beautiful as a god.”
“All I Need,” featuring Beth Hirsch on vocals, brings in lovely, almost Spanish, acoustic guitar as Hirsch sings to a perspective lover to let her be a light to him. “Kelly, Watch the Stars!” is mostly an instrumental (the title is repeated multiple times) that combines thick bass, Theremin, and robot vocals. “Talisman” belongs on a movie soundtrack, be it a spy thriller, a sexy comedy, or a sci-fi film.
“Remember” has electro-beats surrounded by ghostly synths as Dunckel and Godin sing about a day in the past. You can’t tell if the day was good or bad or somewhere in between, but I think that’s the point. Ms. Hirsch returns for vocals on “You Make It Easy,” a song with bossa nova touches that tells a lovely tale of love.
“Ce Matin La” reveals Air’s love of Ennio Morricone with its harmonica riffs, subtle trumpet, and, of course, guitar work. “New Star in the Sky (Chanson pour Solal)” is a mellow head-trip and perfect for relaxing on the international space station while you’re circling the Earth every ninety minutes. “Le Voyage de Penelope” closes the album with sultry synths that almost sound like a warped trumpet at first and then become a lush groove track to send you off into euphoric bliss.
Moon Safari is perfectly named because this whole album sounds like it was made in such a place – a hidden jungle deep inside the moon ruled by sexy women and weird creatures.
Scottish producer Sam Gellaitry announces his new EP, IV, out May 14th (digital) and June 11th(vinyl) via the new home to Sam’s own Viewfinder Recordings, FFRR Records/Parlophone, and shares the lead single/video, “Duo.” Between 2015 and 2017, Sam put out three EPs as a series – Escapism, Escapism II, and Escapism III. He’s always used instruments to convey voices – high pitched flute sounds to evoke falsetto sounds and female vocals, for example, or top lines made from melodics. But after taking a break for a few years since the release of his Escapism series, he decided the time was right to start singing on his own music. You can hear this for the first time on IV. Produced, written, vocalized, mixed and mastered by Sam, its name is a subtle nod to the Escapism trilogy and the work he’s released so far. More literally, it’s also called IV because it’s a collection of four songs and four emotions.
Born far away from key electronic music hubs like LA, Glasgow and London, Sam, now 24, grew up in Stirling – an old town in central Scotland that’s rich in medieval history and visually stunning views. Living here led Sam’s older brother to happy hardcore – a kind of hard dance music born from the UK and Europe’s breakbeat and rave scenes – which in turn lead to Sam learning to produce. YouTube granted unfettered access to the world’s electronic scenes, with the array of sounds pushing Sam to pick up production in his early teens. He dove into Daft Punk’s robotic space realm where looped up disco samples reigned supreme and LA producers Samiyam and Flying Lotus were early inspirations. But no matter the genre, one thing remained constant: the idea that music can take your imagination on a voyage through color, place and sound, via combinations of notes.
Sam views the world through palettes of vivid color. A C minor scale becomes purple, plum and grape. C-sharp minor is cool and blue. Night time is best evoked in dark F minor reds and D minor induces rich forest green. His music is a journey through experience, circumstance and surroundings, told through his impressive, synesthesia-informed knowledge of different musical tones. For him, songwriting and producing has always connected to a process of pairing and contrasting different tones – “using the notes to create different sensations – like tension or relief in your head.” In practice, this technique has seen him experiment with high definition club music, crisp hip hop production, dabs of orchestral instrumentation and more.
Lead single “Duo” hones in on the French house music Sam discovered in his early teens. It’s the first track ever that features his voice. Presented with high octane and eclectic visuals, the video directed by Ethan + Tom, transitions rapidly through a scene of animated and inverted clips of Sam before it takes a psychedelic-feeling thrill ride. “It feels like I’m dropping my first ever song. It’s a crazy feeling to go from hiding behind instrumentation to finally finding my voice. It’s super liberating being able to explore more refined soundscapes by using my vocals as the glue. I return to my roots with ‘Duo’ by venturing into a more funk oriented sonic and I’m going to continue to showcase all my past and present tastes that have brought me to this point musically.”
This new phase of Sam’s career is an embrace of his unparalleled and unadulterated passion for creativity. “I’m at an age now where I feel ready to talk and tell people what I’ve experienced in life. It’s perfect timing in that sense,” says Sam. “I’ve done three EPs. I’m at the point now where I’m like – I want all the smoke. Now I’m comfortable singing on my songs, I want to go back to each point in my musical journey and tap into it. I’m using the voice as my anchor, then tapping into other sonics that have influenced me.”
Margate-based, Australian multi-instrumentalist Jorja Chalmers will release her new album ‘Midnight Train‘ on May 28th via Italians Do It Better. The first single from the record “Bring Me Down” is streaming online now.
Speaking about the first single “Bring Me Down”, Jorja said “It’s about the fragility of the perfect housewife.It’s basically about a woman that’s trying to be everything, and is cracking psychologically. It’s got a very haunting melody. There’s something there that’s a little bit beautiful and disturbing about it.”
The accompanying video is a piece of Lynchian performance art, an unsettling one-shot clip that shows a person on the edge. It’s all theatre however, Jorja Chalmers relishes in inhabiting a persona, one that may be entirely divorced from her own experiences. “There can be a healthy separation from using your creativity to make something that is almost like a duplicate of yourself, that you don’t necessarily associate with. If you make something dark, then it’s not necessarily your personality. It can be the opposite sometimes.”
Jorja Chalmers enjoys a quiet life. The Australian born mother of two lives in Margate, the Kent coastal town that is turning into something of a cultural hub. Yet there’s another, shadow version of Jorja Chalmers, one that resides in a liminal realm; a saxophonist and composer, a brooding, vampiric, twilight soul who yearns for some sense of aesthetic transformation.
New album ‘Midnight Train’ comes close to severing the two. Constructed during the long winter lockdown, Jorja would put her kids to bed before closing the door in the spare room, building lengthy, undulating passages of cinematic terror, patching together European art-pop glamour with outsider electronics. It’s composed, intense, and challenging – but it’s also utterly exhilarating.
It’s not been a straight-forward path. Burned out following years of classical studies in her native Sydney, Jorja travelled half-way round the world looking for an escape. Settling for some ad hoc office jobs in London, she started kicking around in bands, playing saxophone for a friend’s new wave project. Someone from Bryan Ferry’s team spotted her at some flea-bit bar, and was infatuated – soon Jorja started touring the world with Roxy Music.
Jorja’s 2019 debut album ‘Human Again’ was sketched in hotel rooms across Europe and North America, ideas punched out on down-time between shows. This time round, however, things are a bit more defined. “A lot of those songs were one take jams, it was improvised. This is more refined,” Jorja insists. “It’s a natural progression, this second album. It feels more mature in that way.”
Mixed by Dean Hurley, David Lynch’s music engineer, ‘Midnight Train’ is a treasure trove of ideas. Indeed, it could well be the album Jorja had waited her entire life to make – aspects of minimalism sparked by a teenager who spent countless hours memorising Michael Nyman’s seminal film score for The Piano, set against cinematic electronics and swathes of huge, enveloping, classical dynamics.
“I want it to sound immersive, like it’s wrapping you in a blanket,” she says. Indeed, she cites Rachmaninoff’s epic work The Rock as a key touchstone on the new record. “It’s something that my parents used to blast out of their stereo when I was a kid. I heard it a million times. It’s strange to be hearing a song that is so dramatic when you’re that young. It’s a beautiful piece. It’s one of those things that leaves an imprint on you.”
At times, ‘Midnight Train’ gets very dark indeed. ‘Rabbit In The Headlights’ is a squirming piece of jet-black avant-pop, while ‘Boadicea’ is draped in the blood of the ancient British warrior queen. ‘The Wolves Of The Orangery’ was sculpted after a Roxy Music show in the Palace of Versailles, and it’s haunted by the oppression meted out to the servants, and the bloody revenge exhibited on the French regal classes. There’s light in those murky depths, however; take her brooding version of The Doors’ classic ‘Riders On The Storm’ – a blood-thirsty slice of dystopian electronics, it doubles as a salute to her father, who built himself colossal speakers to both entertain his daughter and terrify his neighbours.
A finessed, contoured vision of Jorja Chalmers’ undaunted creativity, ‘Midnight Train’ bristles with ideas. Breathy saxophone undulates on ‘Nightingale’, her homage to Yellow Magic Orchestra founder Haroumi Hosono, while mournful closer ‘Underwater Blood’ echoes the intensity of Goblin’s work on the Suspiria score, or even John Carpenter’s cinematic endeavours. “I grew up watching lots of movies. I was obsessed with the Terminator soundtrack. I remember hearing that for the first time, and just knowing my tastes were going to be changed forever.”
‘Midnight Train’ feels concise, sharpened, ready to pounce. Cannibalising her influences, Jorja Chalmers has been able to pursue her creative appetites to their most extreme. Yet even at its most challenging, her bold new album revels in the sheer joy of creation. “Making this album was really freeing,” she explains. “I loved writing this album. I always write in the same way, but I think that lockdown provided me with lesser distractions. Writing is such a personal thing for me – being in your little cave, and creating. That’s the beautiful moment for me.”
A solitary creation, a lockdown triumph, ‘Midnight Train’ is the moment Jorja Chalmers truly achieves transcendence.
Midnight Train track list: 1. Bring Me Down 2. I’ll Be Waiting 3. Rabbit In The Headlights 4. Boadicea 5. Love Me Tonight 6. Nightingale 7. Riders On The Storm 8. Rhapsody 9. The Poet 10. The Wolves Of The Orangery 11. On Such A Clear Day 12. Midnight Train 13. Underwater Blood
