Boomkat Product Review:
Sarah Davachi’s quietly stunning first side for Sean McCann’s Recital Program. It arrives in the tremulous wake of the widely acclaimed 'All My Circles Run' album to offer a sublime reaffirmation of Davachi's genius for anyone who’s followed her work over the last few years, and also acts as an unmissable entry point for curious newcomers, especially anyone smitten with the methods and effects of music by Eliane Radigue, Kara-Lis Coverdale, or Mark Hollis.
Sarah’s work has been intimately concerned with the phenomenology of sounds and the way in which, once “released” from the player and instrument, they move in chaotic and unpredictable ways, effectively taking on a new life of their own. In order to exert some control over those factors, it’s perhaps understandable that Davachi's music is most often slow and the result of ostensibly simple gestures, but thanks to her preternatural attention to space and tone, those careful motifs generate a complexity of overtones that have become her coveted secret ingredient.
After alchemically turning her hand to whatever instrument is within reach (she’s been known to turn up at venues without an instrument and improvise on unfamiliar gear) for previous releases and shows, Davachi opts for the Mellotron and an electronic organ on Let Night Come On Bells End The Day, rendering five variegated improvisations that feel vulnerable yet somehow increasingly assured in her perceptive powers.
Most impressive among them are the gently coruscating chamber figure of Mordents, which makes an imperceptibly glacial transition from legible motifs to a gorgeous blur, and the heartbreakingly funereal drift of Buhrstone, especially when it really starts to keen out of the lines. But that’s not to say less of her hyaline beauty At Hand, or the time-melting dimensions of Hours In The Evening - as with all of Sarah’s work, they’re just aspects of the same, amazing whole.