Zürich’s Noémi Büchi synthesises scorched orchestral movements on the edge of discord and noise in her hyperkinetic arrangements for ace label, -OUS
‘Hyle’ is Noémi's first for the Swiss/Italian label and builds on the more fractured, abstract patterning of her ‘Matière’ album with a more puckered play of melody and vaulted harmony that places her work at the threshold of neo-classical and electro-acoustic spheres.
The stacked chords and icy digital precision of her opener ‘Mouthing is Artificial’ places somewhere in proximity to the hyper-chamber trance works of TCF and Lorenzo Senni, with a personalised feel for bittersweet tunings, and ‘Manifesting Plastic Sorrow’ is better defined by its pent lust, with epic strings suppressed to a tense seethe by the electronic birdcage of her sound design, and ‘Talking So Loud’ projects glittering arps to the back of your eyelids, shattering into DMT-like vision of gyring geometries.
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Zürich’s Noémi Büchi synthesises scorched orchestral movements on the edge of discord and noise in her hyperkinetic arrangements for ace label, -OUS
‘Hyle’ is Noémi's first for the Swiss/Italian label and builds on the more fractured, abstract patterning of her ‘Matière’ album with a more puckered play of melody and vaulted harmony that places her work at the threshold of neo-classical and electro-acoustic spheres.
The stacked chords and icy digital precision of her opener ‘Mouthing is Artificial’ places somewhere in proximity to the hyper-chamber trance works of TCF and Lorenzo Senni, with a personalised feel for bittersweet tunings, and ‘Manifesting Plastic Sorrow’ is better defined by its pent lust, with epic strings suppressed to a tense seethe by the electronic birdcage of her sound design, and ‘Talking So Loud’ projects glittering arps to the back of your eyelids, shattering into DMT-like vision of gyring geometries.
Zürich’s Noémi Büchi synthesises scorched orchestral movements on the edge of discord and noise in her hyperkinetic arrangements for ace label, -OUS
‘Hyle’ is Noémi's first for the Swiss/Italian label and builds on the more fractured, abstract patterning of her ‘Matière’ album with a more puckered play of melody and vaulted harmony that places her work at the threshold of neo-classical and electro-acoustic spheres.
The stacked chords and icy digital precision of her opener ‘Mouthing is Artificial’ places somewhere in proximity to the hyper-chamber trance works of TCF and Lorenzo Senni, with a personalised feel for bittersweet tunings, and ‘Manifesting Plastic Sorrow’ is better defined by its pent lust, with epic strings suppressed to a tense seethe by the electronic birdcage of her sound design, and ‘Talking So Loud’ projects glittering arps to the back of your eyelids, shattering into DMT-like vision of gyring geometries.
Zürich’s Noémi Büchi synthesises scorched orchestral movements on the edge of discord and noise in her hyperkinetic arrangements for ace label, -OUS
‘Hyle’ is Noémi's first for the Swiss/Italian label and builds on the more fractured, abstract patterning of her ‘Matière’ album with a more puckered play of melody and vaulted harmony that places her work at the threshold of neo-classical and electro-acoustic spheres.
The stacked chords and icy digital precision of her opener ‘Mouthing is Artificial’ places somewhere in proximity to the hyper-chamber trance works of TCF and Lorenzo Senni, with a personalised feel for bittersweet tunings, and ‘Manifesting Plastic Sorrow’ is better defined by its pent lust, with epic strings suppressed to a tense seethe by the electronic birdcage of her sound design, and ‘Talking So Loud’ projects glittering arps to the back of your eyelids, shattering into DMT-like vision of gyring geometries.