Félicia Atkinson is a multidisciplinary artist with many strings to her bow. Hand In Hand elevates her work to a completely higher plain as far as we are concerned though; fusing field recordings, modular and MIDI electronics with an almost hypnotising line in whispered/ASMR vocal narration to subliminally affective degrees, lulling us into an alien - yet incredibly human - soundsphere. It’s rare to hear a singular artistic vision translated into a sound that is so inherently personal and inviting - but somehow Hand In Hand is both one of the most accessible, and most experimental albums we encountered in 2017. It’s riddled with so much nuance that many months on we’re still discovering hidden new crevices with every listen. If you’ve yet to hear it - what are you waiting for?
Preeminent avant-garde composer Felicia Atkinson weaves myriad, filigree electro-acoustic and non-musical metanarratives in her totally absorbing follow-up to A Readymade Ceremony  - a remarkable album which attracted high acclaim worldwide and pushed her to the core of the modern experimental sphere.
Hand In Hand consolidates Atkinson's refined palette of modular and MIDI electronics with ASMR voices, field recordings and instrumental improvisation to subliminally affective degrees, whilst conveying the ambitious complexities of her sound art with a harmoniously organic, spaciously poised appeal.
Where her last album A Readymade Ceremony emerged fully formed from a protracted period of experimentation and research whilst based in The Alps c. 2013-2015, Hand In Hand finds Félicia building a metaphysical playground on its foundations, meshing recordings and lyrics - found and composed between her home in Brittany and Stockholm’s EMS facilities - into a finely sculpted and dreamlike web of subtle sensations and hyperstisised fiction.
In the process she brings closer together a wide-range of her artistic practices, incorporating elements of sculpture and painting along with sound installation, multichannel diffusion and live performance into her ever-expanding sonic vocabulary and grammar. Whether consumed on headphones or loudspeakers, it’s clear to hear this sharply honed sound sensitivity come into play as her carefully hushed vocals are bathed in placid yet suspenseful tones and almost imperceptibly underlined by an attention to timbral detail and those infrasonic frequencies normally ignored or blithely unattended by other composers within the field.
This all becomes apparent within the first side’s transition from warbling ambient-pop/neo-classical in I’m Following You to a stark contrast of hushed ASMR vocals and Rashad Becker-ish crack-bug electronics in Valis laid over Oren Ambarchi-esque bass tones, and then again into the hyaline gamelan dimensions of Curious In Epidavros, each laced with layers of spectral detail that only reveal themselves after multiple listens, and quite differently in each mode (headphones or speakers).
The dichotomies or paradoxes between the seen/heard/felt and unseen/unheard/elusive continue to beautifully, mystically inform and frame the rest of the album; begging us to chase her vocals around the stereo field of and mazy shimmers of Adaptation Assez Facile into the upside down oddness of Monstera Deliciosa’s rising basses and the curiously erotic lyrics about plants in Visage, before calving off into squashed rhythms with the hymn, A House A Dance A Poem, emerging into the sublime, weightless ambience of Hier Le Désert, and the surreal avian jazz Buchla strokes that resolve No Fear But Anticipation.
In the best way this is a record that is immediate and enduring; transparent yet oblique, riddled with nuance and underlying layers that keener listeners will discover in their own time.