Romy—Mid Air

My clubbing days are long behind me. In truth, they were never the most memorable or meaningful parts of my life, but I will never forget that visceral feeling when the bass starts to vibrate through your entire body. There is a moment just before the drop when the atmosphere becomes electric. The tension rises, the beat builds toward a peak that feels like it might never end, and then suddenly everything crashes down in perfect unison. I never smoked, but in those moments, I could completely understand the appeal of reaching for a cigarette after. That post-drop exhale was something close to ecstasy.

Perhaps I’m setting up unrealistic expectations, but the first time I heard the opening track, "Loveher," I was caught off guard by how quickly it pulled me back to those formative experiences. The gentle thump of the bass and the shimmering keyboard accompaniment immediately set a mood that felt both contemporary and nostalgic. There was something about the vocal tone that made me think of French electro-pop. I found myself wondering if Romy was French, maybe even from the same world as Christine and the Queens. A quick search revealed she is actually English, and from London, like me.

"Weightless" came next and gave me a strong sense of déjà vu. I could not place the memory exactly, but the emotional familiarity was undeniable. It had that same soft and measured build, with vocals climbing steadily upward. Then the bass dropped in, not aggressively, but with confidence and depth. In that moment, I was completely drawn in. The song does not just play, it envelops.

It is difficult to do this album justice by breaking it down track by track. Each song seems to share a certain DNA, a kind of emotional architecture built around rhythm, vulnerability, and movement. Every track functions on its own as a strong dance cut, but together, they form a continuous story. For me, it became a guided journey into the past, calling back memories I thought had faded. For others, it will no doubt create new associations and future nostalgia.

If I were to pick out a few personal highlights, "Loveher" would be right up there, along with "DMC," which is very brief but left a strong impression. It has an ambient quality that reminded me a bit of The Orb, with just enough atmosphere to make its short runtime feel substantial. "Twice" stands out sonically as it leans into a more muted, restrained production, allowing the vocals to step forward with striking clarity. "Did I" wastes no time, launching with a strong, immediate energy that carries through the entire track.

The album concludes with "She's on My Mind," a track that to my ears carries the essence of classic soul. I was reminded of Tavares and their track "Heaven Must Be Missing an Angel.", but for the modern age. It feels like a proper send-off, full of warmth and a light, and emotional lift. It rounds out the album with a sense of resolution.

This is an album that deserves to be played as loudly as your environment allows. It is not just meant to be heard, it's meant to be felt. If you are fortunate enough to have neighbours who share your taste, turn it up. If not, then a good set of headphones will give you a sonically rich, fully immersive experience. Either way, this is more than just an album. It is a physical and emotional journey that rewards both movement and stillness.