Canadian artist Sarah Davachi is an electroacoustic and experimental composer with an interest in psychoacoustic manipulations, and studio composition. On her 2016 album Vergers, wshe focused on the EMS Synthi 100 synthesizer, creating an hypnotic long form drone, allowing the listener to embrace the texture and lose themselves in the uncertain beauty and hard edge of the timbre. You can read our review here.
Her forthcoming album ‘Gave In Rest’ will be released 14th September via Ba Da Bing. Evensong is our first glimpse, and it’s a gorgeous amorphous, quite haunting piece, very different from Vergers.
This is what the label says:
“Davachi went deeper into studying early music over that summer, considering how Renaissance musicians experimented with new instruments, forms, and texture. For example, meantone temperament and just intonation, which sound unusual by twentieth-century standards, appear first during this period and continue to foster a sense of mystery and awe in the manipulation of harmony and polyphony. Her reflections led her to the duality of stillness and rest, and upon entering Montréal’s hotel2tango studio with Howard Bilerman, she adapted her modern style to standard approaches of a recording studio’s function.
She composed the majority of the record alone at the piano to find specific harmonic colours and movements, then brought in an ensemble of musicians to interact and extrapolate organically with those tones. With these sessions recorded, Davachi manipulated the resulting sounds through tape delays and chorusing effects that could be played in real time, thereby engaging these evolved sounds as instruments themselves.”
You can find out more here.
