Sarah Davachi
August Harp
Boomkat Product Review:
Sarah Davachi’s sophomore 2014 side, documenting her quietly contemplative and penetratingly hypnotic style of drone and minimalist chamber composition coming to life in a way that has truly bloomed in recent years - now reissued on her own Late Music label.
Born on tape by Important’s Cassauna label, now coming to us via Sarah’s own nascent label Late Music, ‘August Harp’ sees her patient focus at work in unfolding and eliding viscous layers of modular synthesisers - Buchla 100, Buchla 200, Buchla Music Easel, EMS VCS3, and Sequential Circuits Pro-One synthesizers - with vaporous ephemera of cello, flute, harmonium and indistinct vocals.
In a way the results clearly hearken back to the late ‘60s ragaspacescapes of La Monte Young / Marian Zazeela, via German kosmiche and the sort of illusively suspended, ascetic tones found in music by Eleh or Kali Malone, very much fitting with the turn of last decade’s search for new synth horizons that became subsumed into the all-consuming vaporwave and so much new age chaff, while bods like Sarah with albums like this were really tapping into something more eternal, divine, psychoacoustic, that has been most beautifully distilled to near ambient-pop degrees in her most recent work.
“Davachi holds an MFA in Electronic Music and Recording Media from Mills College in Oakland, California and, since 2007, has worked for the National Music Centre in Calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. Her writings on experimental music and phenomenology have been presented and published within Canada, the United States, and the United Kingdom, and she has held artist residencies at The Banff Centre for the Arts, STEIM, WORM (Rotterdam), and EMS (Stockholm).”
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Boomkat Product Review:
Sarah Davachi’s sophomore 2014 side, documenting her quietly contemplative and penetratingly hypnotic style of drone and minimalist chamber composition coming to life in a way that has truly bloomed in recent years - now reissued on her own Late Music label.
Born on tape by Important’s Cassauna label, now coming to us via Sarah’s own nascent label Late Music, ‘August Harp’ sees her patient focus at work in unfolding and eliding viscous layers of modular synthesisers - Buchla 100, Buchla 200, Buchla Music Easel, EMS VCS3, and Sequential Circuits Pro-One synthesizers - with vaporous ephemera of cello, flute, harmonium and indistinct vocals.
In a way the results clearly hearken back to the late ‘60s ragaspacescapes of La Monte Young / Marian Zazeela, via German kosmiche and the sort of illusively suspended, ascetic tones found in music by Eleh or Kali Malone, very much fitting with the turn of last decade’s search for new synth horizons that became subsumed into the all-consuming vaporwave and so much new age chaff, while bods like Sarah with albums like this were really tapping into something more eternal, divine, psychoacoustic, that has been most beautifully distilled to near ambient-pop degrees in her most recent work.
“Davachi holds an MFA in Electronic Music and Recording Media from Mills College in Oakland, California and, since 2007, has worked for the National Music Centre in Calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. Her writings on experimental music and phenomenology have been presented and published within Canada, the United States, and the United Kingdom, and she has held artist residencies at The Banff Centre for the Arts, STEIM, WORM (Rotterdam), and EMS (Stockholm).”
Boomkat Product Review:
Sarah Davachi’s sophomore 2014 side, documenting her quietly contemplative and penetratingly hypnotic style of drone and minimalist chamber composition coming to life in a way that has truly bloomed in recent years - now reissued on her own Late Music label.
Born on tape by Important’s Cassauna label, now coming to us via Sarah’s own nascent label Late Music, ‘August Harp’ sees her patient focus at work in unfolding and eliding viscous layers of modular synthesisers - Buchla 100, Buchla 200, Buchla Music Easel, EMS VCS3, and Sequential Circuits Pro-One synthesizers - with vaporous ephemera of cello, flute, harmonium and indistinct vocals.
In a way the results clearly hearken back to the late ‘60s ragaspacescapes of La Monte Young / Marian Zazeela, via German kosmiche and the sort of illusively suspended, ascetic tones found in music by Eleh or Kali Malone, very much fitting with the turn of last decade’s search for new synth horizons that became subsumed into the all-consuming vaporwave and so much new age chaff, while bods like Sarah with albums like this were really tapping into something more eternal, divine, psychoacoustic, that has been most beautifully distilled to near ambient-pop degrees in her most recent work.
“Davachi holds an MFA in Electronic Music and Recording Media from Mills College in Oakland, California and, since 2007, has worked for the National Music Centre in Calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. Her writings on experimental music and phenomenology have been presented and published within Canada, the United States, and the United Kingdom, and she has held artist residencies at The Banff Centre for the Arts, STEIM, WORM (Rotterdam), and EMS (Stockholm).”
Boomkat Product Review:
Sarah Davachi’s sophomore 2014 side, documenting her quietly contemplative and penetratingly hypnotic style of drone and minimalist chamber composition coming to life in a way that has truly bloomed in recent years - now reissued on her own Late Music label.
Born on tape by Important’s Cassauna label, now coming to us via Sarah’s own nascent label Late Music, ‘August Harp’ sees her patient focus at work in unfolding and eliding viscous layers of modular synthesisers - Buchla 100, Buchla 200, Buchla Music Easel, EMS VCS3, and Sequential Circuits Pro-One synthesizers - with vaporous ephemera of cello, flute, harmonium and indistinct vocals.
In a way the results clearly hearken back to the late ‘60s ragaspacescapes of La Monte Young / Marian Zazeela, via German kosmiche and the sort of illusively suspended, ascetic tones found in music by Eleh or Kali Malone, very much fitting with the turn of last decade’s search for new synth horizons that became subsumed into the all-consuming vaporwave and so much new age chaff, while bods like Sarah with albums like this were really tapping into something more eternal, divine, psychoacoustic, that has been most beautifully distilled to near ambient-pop degrees in her most recent work.
“Davachi holds an MFA in Electronic Music and Recording Media from Mills College in Oakland, California and, since 2007, has worked for the National Music Centre in Calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. Her writings on experimental music and phenomenology have been presented and published within Canada, the United States, and the United Kingdom, and she has held artist residencies at The Banff Centre for the Arts, STEIM, WORM (Rotterdam), and EMS (Stockholm).”
More from Sarah Davachi:
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Sarah Davachi In Concert & In Residence Late Music Modern Classical / Ambient- MP3
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Sarah Davachi Two Sisters Late Music Modern Classical / Ambient
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Sarah Davachi Alas, Departing Late Music Modern Classical / Ambient
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Sarah Davachi En Bas Tu Vois Late Music Modern Classical / Ambient
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Sarah Davachi Antiphonals Late Music Electronic
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More from Late Music:
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Sarah Davachi In Concert & In Residence Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
- 2CD
-
Sarah Davachi Two Sisters Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Colour 2LP
- 2LP (Black Vinyl)
- 2CD
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Sarah Davachi Alas, Departing Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
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Sarah Davachi En Bas Tu Vois Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
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Sarah Davachi Antiphonals Late Music Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- CD
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