No Longer A Soundtrack
Stunning work from Asha Sheshadri, setting poetic observations of time spent in NYC, Philadelphia and San Diego to a mix of iridescent ambient backdrops, field recordings and harder-nosed electronics gauzily reminiscent of Robert Ashley, Félicia Atkinson and Kate Carr.
Irregularly crossing these pages with her memorable outings as Isolde Touch for Entr’acte, and in Open Corners for Recital, Asha Sheshadri leaves another curious impression with ‘No Longer a Soundtrack’ for Barcelona’s ever searching Anòmia label. The four parts speak to the breadth of Asha’s aesthetic, taking in the haunting everyday surrealism of her mulched vocal with music box melody in ‘Bottle With Coiling Dragon Inside’, and more perplexing but captivating arrangement of synthesised and real vocals with keys and floating-to-piercing electronics in ‘Elephant Years’, whereas ‘Patty Live June’ sounds like she’s become embedded in the sidewalk and ether of an NYC street scene, whispering and dreaming to herself, and ‘Laboratory Channel’ sounds like she’s mixing receptions from a Russian numbers station into a haunted swimming pool.
Highly Recommended.
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Stunning work from Asha Sheshadri, setting poetic observations of time spent in NYC, Philadelphia and San Diego to a mix of iridescent ambient backdrops, field recordings and harder-nosed electronics gauzily reminiscent of Robert Ashley, Félicia Atkinson and Kate Carr.
Irregularly crossing these pages with her memorable outings as Isolde Touch for Entr’acte, and in Open Corners for Recital, Asha Sheshadri leaves another curious impression with ‘No Longer a Soundtrack’ for Barcelona’s ever searching Anòmia label. The four parts speak to the breadth of Asha’s aesthetic, taking in the haunting everyday surrealism of her mulched vocal with music box melody in ‘Bottle With Coiling Dragon Inside’, and more perplexing but captivating arrangement of synthesised and real vocals with keys and floating-to-piercing electronics in ‘Elephant Years’, whereas ‘Patty Live June’ sounds like she’s become embedded in the sidewalk and ether of an NYC street scene, whispering and dreaming to herself, and ‘Laboratory Channel’ sounds like she’s mixing receptions from a Russian numbers station into a haunted swimming pool.
Highly Recommended.
Stunning work from Asha Sheshadri, setting poetic observations of time spent in NYC, Philadelphia and San Diego to a mix of iridescent ambient backdrops, field recordings and harder-nosed electronics gauzily reminiscent of Robert Ashley, Félicia Atkinson and Kate Carr.
Irregularly crossing these pages with her memorable outings as Isolde Touch for Entr’acte, and in Open Corners for Recital, Asha Sheshadri leaves another curious impression with ‘No Longer a Soundtrack’ for Barcelona’s ever searching Anòmia label. The four parts speak to the breadth of Asha’s aesthetic, taking in the haunting everyday surrealism of her mulched vocal with music box melody in ‘Bottle With Coiling Dragon Inside’, and more perplexing but captivating arrangement of synthesised and real vocals with keys and floating-to-piercing electronics in ‘Elephant Years’, whereas ‘Patty Live June’ sounds like she’s become embedded in the sidewalk and ether of an NYC street scene, whispering and dreaming to herself, and ‘Laboratory Channel’ sounds like she’s mixing receptions from a Russian numbers station into a haunted swimming pool.
Highly Recommended.
Stunning work from Asha Sheshadri, setting poetic observations of time spent in NYC, Philadelphia and San Diego to a mix of iridescent ambient backdrops, field recordings and harder-nosed electronics gauzily reminiscent of Robert Ashley, Félicia Atkinson and Kate Carr.
Irregularly crossing these pages with her memorable outings as Isolde Touch for Entr’acte, and in Open Corners for Recital, Asha Sheshadri leaves another curious impression with ‘No Longer a Soundtrack’ for Barcelona’s ever searching Anòmia label. The four parts speak to the breadth of Asha’s aesthetic, taking in the haunting everyday surrealism of her mulched vocal with music box melody in ‘Bottle With Coiling Dragon Inside’, and more perplexing but captivating arrangement of synthesised and real vocals with keys and floating-to-piercing electronics in ‘Elephant Years’, whereas ‘Patty Live June’ sounds like she’s become embedded in the sidewalk and ether of an NYC street scene, whispering and dreaming to herself, and ‘Laboratory Channel’ sounds like she’s mixing receptions from a Russian numbers station into a haunted swimming pool.
Highly Recommended.
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Edition of 100 copies.
Stunning work from Asha Sheshadri, setting poetic observations of time spent in NYC, Philadelphia and San Diego to a mix of iridescent ambient backdrops, field recordings and harder-nosed electronics gauzily reminiscent of Robert Ashley, Félicia Atkinson and Kate Carr.
Irregularly crossing these pages with her memorable outings as Isolde Touch for Entr’acte, and in Open Corners for Recital, Asha Sheshadri leaves another curious impression with ‘No Longer a Soundtrack’ for Barcelona’s ever searching Anòmia label. The four parts speak to the breadth of Asha’s aesthetic, taking in the haunting everyday surrealism of her mulched vocal with music box melody in ‘Bottle With Coiling Dragon Inside’, and more perplexing but captivating arrangement of synthesised and real vocals with keys and floating-to-piercing electronics in ‘Elephant Years’, whereas ‘Patty Live June’ sounds like she’s become embedded in the sidewalk and ether of an NYC street scene, whispering and dreaming to herself, and ‘Laboratory Channel’ sounds like she’s mixing receptions from a Russian numbers station into a haunted swimming pool.
Highly Recommended.