Belgian electro-acoustic artist Elisabeth Klinck returns to Hallow Ground with a vocal-led suite of mannered folk/classical explorations that'll be sure to appeal to Sonic Pieces or Miasmah devotees.
After rinsing the soundscapes and field recordings on her 2023 debut album 'Picture a Frame', Klinck offsets her violin playing with vulnerable vocal improvisations on 'Chronotopia', forming gentle half-songs while paying close attention to the powdery backdrop. Minimal but oddly dramatic, Klinck's compositions are inspired by her work as a theater composer and performer, struck through with energy without balancing on the chaos of too many elements. Often it's just sparse string plucks and her voice that carries the momentum; opener 'Dreamdealer' magnifies the inconsistencies in her wordless coos, that crack as they follow the stringy tones. Klinck's use of silence is impressive, and she doesn't overuse the trick: 'Off Day On' sounds like a choral answer to homespun folk, while 'Here But Different' barely materializes into a fully formed composition, tracing out the shapes with half scraped off-key string flutters and casually off-kilter ad-libs.
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Belgian electro-acoustic artist Elisabeth Klinck returns to Hallow Ground with a vocal-led suite of mannered folk/classical explorations that'll be sure to appeal to Sonic Pieces or Miasmah devotees.
After rinsing the soundscapes and field recordings on her 2023 debut album 'Picture a Frame', Klinck offsets her violin playing with vulnerable vocal improvisations on 'Chronotopia', forming gentle half-songs while paying close attention to the powdery backdrop. Minimal but oddly dramatic, Klinck's compositions are inspired by her work as a theater composer and performer, struck through with energy without balancing on the chaos of too many elements. Often it's just sparse string plucks and her voice that carries the momentum; opener 'Dreamdealer' magnifies the inconsistencies in her wordless coos, that crack as they follow the stringy tones. Klinck's use of silence is impressive, and she doesn't overuse the trick: 'Off Day On' sounds like a choral answer to homespun folk, while 'Here But Different' barely materializes into a fully formed composition, tracing out the shapes with half scraped off-key string flutters and casually off-kilter ad-libs.
Belgian electro-acoustic artist Elisabeth Klinck returns to Hallow Ground with a vocal-led suite of mannered folk/classical explorations that'll be sure to appeal to Sonic Pieces or Miasmah devotees.
After rinsing the soundscapes and field recordings on her 2023 debut album 'Picture a Frame', Klinck offsets her violin playing with vulnerable vocal improvisations on 'Chronotopia', forming gentle half-songs while paying close attention to the powdery backdrop. Minimal but oddly dramatic, Klinck's compositions are inspired by her work as a theater composer and performer, struck through with energy without balancing on the chaos of too many elements. Often it's just sparse string plucks and her voice that carries the momentum; opener 'Dreamdealer' magnifies the inconsistencies in her wordless coos, that crack as they follow the stringy tones. Klinck's use of silence is impressive, and she doesn't overuse the trick: 'Off Day On' sounds like a choral answer to homespun folk, while 'Here But Different' barely materializes into a fully formed composition, tracing out the shapes with half scraped off-key string flutters and casually off-kilter ad-libs.
Belgian electro-acoustic artist Elisabeth Klinck returns to Hallow Ground with a vocal-led suite of mannered folk/classical explorations that'll be sure to appeal to Sonic Pieces or Miasmah devotees.
After rinsing the soundscapes and field recordings on her 2023 debut album 'Picture a Frame', Klinck offsets her violin playing with vulnerable vocal improvisations on 'Chronotopia', forming gentle half-songs while paying close attention to the powdery backdrop. Minimal but oddly dramatic, Klinck's compositions are inspired by her work as a theater composer and performer, struck through with energy without balancing on the chaos of too many elements. Often it's just sparse string plucks and her voice that carries the momentum; opener 'Dreamdealer' magnifies the inconsistencies in her wordless coos, that crack as they follow the stringy tones. Klinck's use of silence is impressive, and she doesn't overuse the trick: 'Off Day On' sounds like a choral answer to homespun folk, while 'Here But Different' barely materializes into a fully formed composition, tracing out the shapes with half scraped off-key string flutters and casually off-kilter ad-libs.