Canadian/British artist Charmian Devi is entering a bold new chapter following the release of her debut solo album Diamond Hour in May 2026. After living in Montreal, New York City and London, she has now relocated to Brighton, UK, where she is continuing work on her second album, Till Eternity Breaks. Recorded in London and due for release in 2027, the album is co-produced by Mark Vernon and Charmian herself, featuring contributions from respected musicians including Jonathan Noyce and John Atterbury. Charmian has also formed a new band, Charmian Devi & The Raven, with drummer Lance Taylor and bassist Suzanne Gailey. The group will make its live debut in London during summer 2026, performing songs from both albums. UK dates already confirmed include London’s Dublin Castle on July 22nd and The Gladstone in Brighton on August 7th, marking the beginning of an exciting new era for the artist.

You’ve lived in Montreal, New York, London, and now Brighton. Which city has left the biggest fingerprint on your songwriting?

Each city I have lived in has given me a different creative launchpad, all inspiring but in different ways, but the intensity of New York’s grittiness, harsh economic realities, unusual characters, and vibrant, diverse art scene definitely triggered a new phase of raw material and songs. Montreal is my birth town, so also its hugely unique cutting-edge arts and music scene also has the second and most natural fingerprint in my soul. London and Brighton revive my roots, as I am half British, so heavy imprints there too.

Brighton feels like a slightly surreal seaside postcard. Has moving there changed your creative routine at all?

It’s changed only in the way that I live 20 metres from the ocean, a dream come true for me, and the raw nature has influenced my lyrics and words almost as a way to distance myself from the chaotic human condition.

“Charmian Devi & The Raven sounds wonderfully gothic. Who or what exactly is The Raven in your mind?

The Raven is my protector, a source of divine magic and wonder, the light in the tunnel.

When you first rehearsed with Lance Taylor and Suzanne Gailey, was there an instant “yes, this is the band” moment?

There was an instant hit of good chemistry; Suzanne joined Lance and me a bit later, and she brought that earthy melodic glue that make the songs sway and hammer. Lance understands the grooves I am after almost immediately. So overall a great team.

If Diamond Hour is the soundtrack to one time of day, what strange hour of existence does Till Eternity Breaks belong to?

None and all. An oxymoron I could not resist.

Your new album title sounds dramatic in the best possible way. Did it arrive as a lyric, a phrase in a notebook, or a full cinematic thunderbolt?

I think a “Thunderbolt” is the best way to describe how this title came…out of the blue yet tied to a deeply personal journey of winning the light over darkness.

You’ve called this your most powerful work to date—does that mean louder guitars, sharper lyrics, or just fewer polite compromises?

Simply the most stark reflection at a gut level of rising from the ashes and the ongoing attempt to assimilate the madness of the world we live in...it does seem to include loud, raw guitar chords and melodies.

Recording across Canada, the US, and the UK sounds a bit like building an album with a passport. Do different places unlock different versions of you creatively?

I think the many versions of my creative self are coaxed out by diverse environments, as living in different cities definitely causes a reaction inside when you witness and observe the soul of a city; it sticks with you like an old hotel’s unusual wallpaper.

Working with collaborators connected to artists like PJ Harvey, Bat for Lashes, and John Cale must create an interesting atmosphere. What was the studio energy like—chaotic, meticulous, caffeinated?

Quite meticulous and ordered, actually…it was a tight timeline, so not a lot of time to run out into the backyard to get some sun. But definitely enough time to generate a “blow the roof off” feeling with good creative juices flowing yet a well-thought-out approach that allowed for the most beautiful sounds and arrangements to unfold.

You’re previewing songs from Till Eternity Breaks before the album is even finished. Is that exciting, terrifying, or your preferred form of artistic chaos?

It’s just the result of endless creative flow; I cannot sit still creatively for long, so new songs are being written every day that may or may not be added to the album. I like the unpredictability and creative uncertainty of not knowing where the “paint will land”.



The first London show at Dublin Castle feels iconic. Did you always imagine your new band debuting in a venue like that?

It’s wonderful, but not expected. Who knows what life will bring next? I like the unexpected.

What song from Diamond Hour has surprised you the most—either in how people have responded or how it feels to play live?

“In the week of love”...for how people respond to this track.. it’s almost more loved than Diamond Hour! Another mystery.

If Till Eternity Breaks were a weather forecast, what would it be: gathering storm, clear night sky, total eclipse, or all of the above?

Black sky with occasional shooting star rain.

Be honest: when you hear “second album,” do you think “creative freedom” or “ah yes, the notoriously dramatic sequel era”?

Definitely not a sequel, each album is a universe in itself, born from a certain period of change, growth, struggle, loss and rebirth.