Lucy Duncombe & Feronia Wennborg / Kelley Sheehan
Leave Them All Behind
Exquisite works for voice and aerosolised electronics by acclaimed newcomer Lucy Duncombe in collaboration with Soft Tissue's Feronia Wennborg, split with an intriguing introduction to Kelley Sheehan’s experimental, extended vocal and instrumental tekkerz.
‘Leave Them All Behind’ portrays a vivid contrast of styles with a shared, experimental bent, realised by Lucy Duncombe, whose self-released tape ‘The Rapture of Cellular Accretion’ and 10” for 12th Isle were some of 2022’s finest, made in collabortaion with Soft Tissue's Feronia Wennborg on the first five tracks, plus two final pieces by Kelley Sheehan, who makes her first moves beyond the US electro-acoustic and academic circles.
Both parts are captivating in their own rights, but we’re most snagged on Lucy and Feronia's work here , which drifts from thizzing vocal processing to ambient fantasy via parts of hyperreal, tongue-tip choral rearrangement and dynamic electro-acoustics, before Sheehan addresses more fundamentally odd and ambiguous avant-garde structures.
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Exquisite works for voice and aerosolised electronics by acclaimed newcomer Lucy Duncombe in collaboration with Soft Tissue's Feronia Wennborg, split with an intriguing introduction to Kelley Sheehan’s experimental, extended vocal and instrumental tekkerz.
‘Leave Them All Behind’ portrays a vivid contrast of styles with a shared, experimental bent, realised by Lucy Duncombe, whose self-released tape ‘The Rapture of Cellular Accretion’ and 10” for 12th Isle were some of 2022’s finest, made in collabortaion with Soft Tissue's Feronia Wennborg on the first five tracks, plus two final pieces by Kelley Sheehan, who makes her first moves beyond the US electro-acoustic and academic circles.
Both parts are captivating in their own rights, but we’re most snagged on Lucy and Feronia's work here , which drifts from thizzing vocal processing to ambient fantasy via parts of hyperreal, tongue-tip choral rearrangement and dynamic electro-acoustics, before Sheehan addresses more fundamentally odd and ambiguous avant-garde structures.
Exquisite works for voice and aerosolised electronics by acclaimed newcomer Lucy Duncombe in collaboration with Soft Tissue's Feronia Wennborg, split with an intriguing introduction to Kelley Sheehan’s experimental, extended vocal and instrumental tekkerz.
‘Leave Them All Behind’ portrays a vivid contrast of styles with a shared, experimental bent, realised by Lucy Duncombe, whose self-released tape ‘The Rapture of Cellular Accretion’ and 10” for 12th Isle were some of 2022’s finest, made in collabortaion with Soft Tissue's Feronia Wennborg on the first five tracks, plus two final pieces by Kelley Sheehan, who makes her first moves beyond the US electro-acoustic and academic circles.
Both parts are captivating in their own rights, but we’re most snagged on Lucy and Feronia's work here , which drifts from thizzing vocal processing to ambient fantasy via parts of hyperreal, tongue-tip choral rearrangement and dynamic electro-acoustics, before Sheehan addresses more fundamentally odd and ambiguous avant-garde structures.
Exquisite works for voice and aerosolised electronics by acclaimed newcomer Lucy Duncombe in collaboration with Soft Tissue's Feronia Wennborg, split with an intriguing introduction to Kelley Sheehan’s experimental, extended vocal and instrumental tekkerz.
‘Leave Them All Behind’ portrays a vivid contrast of styles with a shared, experimental bent, realised by Lucy Duncombe, whose self-released tape ‘The Rapture of Cellular Accretion’ and 10” for 12th Isle were some of 2022’s finest, made in collabortaion with Soft Tissue's Feronia Wennborg on the first five tracks, plus two final pieces by Kelley Sheehan, who makes her first moves beyond the US electro-acoustic and academic circles.
Both parts are captivating in their own rights, but we’re most snagged on Lucy and Feronia's work here , which drifts from thizzing vocal processing to ambient fantasy via parts of hyperreal, tongue-tip choral rearrangement and dynamic electro-acoustics, before Sheehan addresses more fundamentally odd and ambiguous avant-garde structures.