Greek harpist and composer Sissi Rada beautifully bends atmospheric light and pressure in her blends of ambient chamber pop and slow burn dance music on her standout debut album with Stroom.
A collaborator with everyone from Brian Eno to Vangelis, Lena Platonos and Lee “Scratch” Perry over the past few decades, Sissi Rada ideally firmed up and announced her solo sound with ‘Aporia’ in summer ’24. Under a title translating to ‘Wonder’ in her native tongue, Rada puckered her trusted harp, voice, and a Prophet synthesiser to tell 10 quietly absorbing tales that poetically riff on the strangeness of nature and ontology with a signature deftness that beautifully grasps a lightness of being. The skill of her craft betrays a steep learning of classical techniques that has placed her in demand by many musicians and other acts over the years, and is now articulated within a singular addition to the swelling sound of dream-pop during a resurgent year for all things gauzy and oneiric, smartly reading the room’s need for escape in contemporary music.
The ancient sound of Sissi’s harp gilds fine webs of electronic structuring, with her voice a constant golden thread that embroiders her signature on each page of the song book ‘Aporia’. sNever hurried, the songs sway and swoon at dream tempo between the melismatic cascades of ‘LIL’ and the hesitant closer ‘Delayed Mausoleum’ on sublime beds of Reese bass in the floating silhouette of ‘Epitelous’ to a standout beatdown pulse of ‘Little Party’ that hails her lesser known love of dance music in a stately centrepiece, along with the almost Teresa Winter-esque shimmy of ‘Sappho’, and sloshing subbass that propels ’Stasis to its wobbly knees. Taken along with the tongue-tip ambient folk waltz ’Sunnefo’, and sublime platforms for her voice and harp in ‘Stigma’ and the Vangelis-esque play of light/dark to ‘Posos’, we’re clearly in the presence of a visionary who’s vision is only beginning to be fully revealed.
View more
Greek harpist and composer Sissi Rada beautifully bends atmospheric light and pressure in her blends of ambient chamber pop and slow burn dance music on her standout debut album with Stroom.
A collaborator with everyone from Brian Eno to Vangelis, Lena Platonos and Lee “Scratch” Perry over the past few decades, Sissi Rada ideally firmed up and announced her solo sound with ‘Aporia’ in summer ’24. Under a title translating to ‘Wonder’ in her native tongue, Rada puckered her trusted harp, voice, and a Prophet synthesiser to tell 10 quietly absorbing tales that poetically riff on the strangeness of nature and ontology with a signature deftness that beautifully grasps a lightness of being. The skill of her craft betrays a steep learning of classical techniques that has placed her in demand by many musicians and other acts over the years, and is now articulated within a singular addition to the swelling sound of dream-pop during a resurgent year for all things gauzy and oneiric, smartly reading the room’s need for escape in contemporary music.
The ancient sound of Sissi’s harp gilds fine webs of electronic structuring, with her voice a constant golden thread that embroiders her signature on each page of the song book ‘Aporia’. sNever hurried, the songs sway and swoon at dream tempo between the melismatic cascades of ‘LIL’ and the hesitant closer ‘Delayed Mausoleum’ on sublime beds of Reese bass in the floating silhouette of ‘Epitelous’ to a standout beatdown pulse of ‘Little Party’ that hails her lesser known love of dance music in a stately centrepiece, along with the almost Teresa Winter-esque shimmy of ‘Sappho’, and sloshing subbass that propels ’Stasis to its wobbly knees. Taken along with the tongue-tip ambient folk waltz ’Sunnefo’, and sublime platforms for her voice and harp in ‘Stigma’ and the Vangelis-esque play of light/dark to ‘Posos’, we’re clearly in the presence of a visionary who’s vision is only beginning to be fully revealed.
Greek harpist and composer Sissi Rada beautifully bends atmospheric light and pressure in her blends of ambient chamber pop and slow burn dance music on her standout debut album with Stroom.
A collaborator with everyone from Brian Eno to Vangelis, Lena Platonos and Lee “Scratch” Perry over the past few decades, Sissi Rada ideally firmed up and announced her solo sound with ‘Aporia’ in summer ’24. Under a title translating to ‘Wonder’ in her native tongue, Rada puckered her trusted harp, voice, and a Prophet synthesiser to tell 10 quietly absorbing tales that poetically riff on the strangeness of nature and ontology with a signature deftness that beautifully grasps a lightness of being. The skill of her craft betrays a steep learning of classical techniques that has placed her in demand by many musicians and other acts over the years, and is now articulated within a singular addition to the swelling sound of dream-pop during a resurgent year for all things gauzy and oneiric, smartly reading the room’s need for escape in contemporary music.
The ancient sound of Sissi’s harp gilds fine webs of electronic structuring, with her voice a constant golden thread that embroiders her signature on each page of the song book ‘Aporia’. sNever hurried, the songs sway and swoon at dream tempo between the melismatic cascades of ‘LIL’ and the hesitant closer ‘Delayed Mausoleum’ on sublime beds of Reese bass in the floating silhouette of ‘Epitelous’ to a standout beatdown pulse of ‘Little Party’ that hails her lesser known love of dance music in a stately centrepiece, along with the almost Teresa Winter-esque shimmy of ‘Sappho’, and sloshing subbass that propels ’Stasis to its wobbly knees. Taken along with the tongue-tip ambient folk waltz ’Sunnefo’, and sublime platforms for her voice and harp in ‘Stigma’ and the Vangelis-esque play of light/dark to ‘Posos’, we’re clearly in the presence of a visionary who’s vision is only beginning to be fully revealed.
Greek harpist and composer Sissi Rada beautifully bends atmospheric light and pressure in her blends of ambient chamber pop and slow burn dance music on her standout debut album with Stroom.
A collaborator with everyone from Brian Eno to Vangelis, Lena Platonos and Lee “Scratch” Perry over the past few decades, Sissi Rada ideally firmed up and announced her solo sound with ‘Aporia’ in summer ’24. Under a title translating to ‘Wonder’ in her native tongue, Rada puckered her trusted harp, voice, and a Prophet synthesiser to tell 10 quietly absorbing tales that poetically riff on the strangeness of nature and ontology with a signature deftness that beautifully grasps a lightness of being. The skill of her craft betrays a steep learning of classical techniques that has placed her in demand by many musicians and other acts over the years, and is now articulated within a singular addition to the swelling sound of dream-pop during a resurgent year for all things gauzy and oneiric, smartly reading the room’s need for escape in contemporary music.
The ancient sound of Sissi’s harp gilds fine webs of electronic structuring, with her voice a constant golden thread that embroiders her signature on each page of the song book ‘Aporia’. sNever hurried, the songs sway and swoon at dream tempo between the melismatic cascades of ‘LIL’ and the hesitant closer ‘Delayed Mausoleum’ on sublime beds of Reese bass in the floating silhouette of ‘Epitelous’ to a standout beatdown pulse of ‘Little Party’ that hails her lesser known love of dance music in a stately centrepiece, along with the almost Teresa Winter-esque shimmy of ‘Sappho’, and sloshing subbass that propels ’Stasis to its wobbly knees. Taken along with the tongue-tip ambient folk waltz ’Sunnefo’, and sublime platforms for her voice and harp in ‘Stigma’ and the Vangelis-esque play of light/dark to ‘Posos’, we’re clearly in the presence of a visionary who’s vision is only beginning to be fully revealed.
Limited edition of 400 copies.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Greek harpist and composer Sissi Rada beautifully bends atmospheric light and pressure in her blends of ambient chamber pop and slow burn dance music on her standout debut album with Stroom.
A collaborator with everyone from Brian Eno to Vangelis, Lena Platonos and Lee “Scratch” Perry over the past few decades, Sissi Rada ideally firmed up and announced her solo sound with ‘Aporia’ in summer ’24. Under a title translating to ‘Wonder’ in her native tongue, Rada puckered her trusted harp, voice, and a Prophet synthesiser to tell 10 quietly absorbing tales that poetically riff on the strangeness of nature and ontology with a signature deftness that beautifully grasps a lightness of being. The skill of her craft betrays a steep learning of classical techniques that has placed her in demand by many musicians and other acts over the years, and is now articulated within a singular addition to the swelling sound of dream-pop during a resurgent year for all things gauzy and oneiric, smartly reading the room’s need for escape in contemporary music.
The ancient sound of Sissi’s harp gilds fine webs of electronic structuring, with her voice a constant golden thread that embroiders her signature on each page of the song book ‘Aporia’. sNever hurried, the songs sway and swoon at dream tempo between the melismatic cascades of ‘LIL’ and the hesitant closer ‘Delayed Mausoleum’ on sublime beds of Reese bass in the floating silhouette of ‘Epitelous’ to a standout beatdown pulse of ‘Little Party’ that hails her lesser known love of dance music in a stately centrepiece, along with the almost Teresa Winter-esque shimmy of ‘Sappho’, and sloshing subbass that propels ’Stasis to its wobbly knees. Taken along with the tongue-tip ambient folk waltz ’Sunnefo’, and sublime platforms for her voice and harp in ‘Stigma’ and the Vangelis-esque play of light/dark to ‘Posos’, we’re clearly in the presence of a visionary who’s vision is only beginning to be fully revealed.