# These Demons Won’t Chase Themselves

**Queen Without a Crown**

Music by LORNÆ & Youngr

**Paper Thin ft. Avoid Dave**

Music by LORNÆ & Youngr

Additional, production, synths and programming by Avoid Dave

Vocals and Lyrics by Avoid Dave

**IOU Nothing ft. Avoid Dave**

Music by LORNÆ & Youngr

Additional synths, percussion and programming by Avoid Dave

Vocals and Lyrics by Avoid Dave

**No Promises**

Music by LORNÆ

Vocal samples provided Tonio & Robert Smith

**Erotic Expression**

Music by LORNÆ & Youngr

**We Met In The Middle of Our Differences**

Music by LORNÆ

Additional Guitars by Eric Louis

Vocal samples provided by Tonio

All tracks produced by LORNÆ

All tracks Mixed & Mastered by Echo Era Audio

### These Demons Won’t Chase Themselves

I haven’t written an extended play in a while. It’s been really hard focusing on one thing to focus on. We’ve all been pulled violently into extremism for so long now, I barely remember normal… and even back then I was on my soap box about something.

Anyway, one day in a heart broken manically depressive stupor in Jan 2025 I woke up to the news that a square headed mentally ill cunt had aggressively waved two nazi salutes on national tv. Emboldening the wicked even further than his master that was stuck to the end of his browning tongue.

What saddened me more were the excuses that the emboldened used once they had quickly rallied together by way of pardoning this wanker from what was now apparent - a rampant flurry of global far right extremism.

My truth of this moment was, that I had said nothing. I had done nothing. I had largely felt defeated - I used the economic beating I took during the pandemic as an excuse to stop writing, stop shouting, and stop caring since 2020.

But this was a wake up call.

The first track, Queen Without A Crown, is a song that screams of political dystopia. First penned in 2014 for a bass-opera my brother and I co-created called ‘The Wolf’ - a reinterpretation of Prokofiev’s work ‘Peter & the wolf’.

Largely, I wrote the book and my brother wrote the music, but we shared the shaping of both. It was an amazing project - I was extremely uncomfortable with the conservative government in the UK at the time - The titular character “The Wolf” was loosely based on the demonic then-prime-minister David Cameron - a version of him that didn’t hide behind sheep’s clothing - a version who was hungry for power and piggy without being ashamed of showing the poor who he really was.

Little did I know that 11 years later I would dust off two of these tracks and reintroduce the world the dystopian nightmare I had created, and it would be even more fitting than it was in 2014. Funny that.

It’s the same shit we were worried about then, come to life now. It’s atrociously accurate. Hence the outro spoken word. “You think I’m in charge to look after you?… I don’t give a fuck”

Paper Thin was another track from “The Wolf”. After stripping the operatic vocal on top of it, I was left with something super raw and full of the same hopelessness that Queen without A Crown had. I knew I had an EP on my hands at this point, because working on Paper Thin catapulted my writing urge into over drive “what does this feel like to write 11 years later?”

I met Avoid Dave at a dinner in Tallinn while on tour with my brother in 2024. We immediately hit it off once the conversation of politics and art came up. He’s a man of deep artistic integrity and skill. I had to get him on at least one track, but I wanted no control over his contribution. No lyrics, no melodies, just a blank page for him to craft on. The story holds no tea other than an instant artistic relationship built on trust and admiration. He works magic. He sounds amazing. I think he’s brought these songs to life and elevated them to a place I haven’t yet reached myself yet.

Thanks Avoid Dave. You are a joy to work with.

A quick note on Paper Thin - the VIP edit is the original form of the song, once I had stripped the bass-opera vocal. It pumps, and its disgustingly subby and apocalyptic. I love it.

No Promises and We Met In The Middle of Our Differences feature vocal samples from a fantastic singer song writer that I met while playing some shows in Dubai called Tonio. Massive thanks to him for being cool with me chopping up voice notes of demos that he sent me, and even bigger love to actually finishing those demos and contributing them to the record. Thank you, man!

I fear a lot of people have been through what I had to go through to make We Met in the Middle of our Differences. It is a song of born absolute pain and despair. When your heart aches for a path but your brain choses differently. It’s a ode to time lost and un-makable memories, being stuck in what the past could have been, and then when faced with forever making the wrong choice and regretting it to your core. It’s dedicated to an unbelievably special person who supports me through everything and who I love extremely deeply.

Before we get to the interpretations and remix section - I would like to take a second to thank my Mum, Ian and my Youngr brother for being just a spectacular inspiration and support to me over the years. Thank you.

### The Interpretations

In the second half of this record you will find a lot of interpretations and remixes. The concept behind this was two fold.

One, I have a lot of amazing musicians around me who inspire me and influence me in many many ways. A lot of these people I’ve known for most of my life, I’ve shared stages around the world with most of them, usually as favours for me. I love their work, and they are my anchor points when I find myself questioning who I am as an artist. Now, the selfish part is, some of them haven’t been writing or releasing new music for a while, and I knew if I pushed them with the right project, I could hear new work again. So, I’m sorry for the manipulation…

…But I needed to hear new work from you all! Including you, Chris Unwin. Your vocal prowess knows no limits, and this entire idea would not have worked without your enlightening enunciation!

The second reason is that the world of art feels really individualistic at the moment. I’ve never been a fan of individualism, and I think it has no place in the arts, especially music. Doing LORNÆ as a solo act has been lonely, tough, depressing and isolating. It’s not a good time to join a band, I get it. However, collaboration is also a wonderful way to involve diversity in sound on a collection. So I called everyone I had met on the road, everyone that I had worked with in the past, and asked if they would have the time to submit something. I didn’t want a collection of just house music remixes, I wanted a diverse collection of soundscapes, genres, timbres, and arrangements. I asked for ‘interpretations’ and for ‘museum-esque’ intro copy to give each piece its rightful artistic space. I said to pick your own song name, pick your own genre, pick your own artist name for all I care - just jump on and lets make something bigger than just yet another ‘solo electronic artist’ EP.

And this is result, 12 tracks equaling an absolute cacophony of composition. I can’t begin to thank everyone enough for being involved. It was SO much fun trying to herd you all like cats and some of the compositions that you put together are just wonderful! Thank you thank you.

Lastly, I want to thank you, if you are still reading, or still listening, to my melancholic collection of inner thoughts. They needed to be aired, because these demons wont chase themselves.