[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.”