Pale Bloom
Sarah Davachi
Pale Bloom
Boomkat Product Review:
Sarah Davachi’s ‘Pale Bloom’ sees the preternaturally gifted composer return to her first instrument, the piano, with ineffably graceful results that incorporate vocals to spine-chilling effect.
Served in the wake of a series of albums where Sarah tested her improv mettle on everything from pipe and reed organs to analog synths - garnering a cult following in the process - her first album of 2019 confirms a versatile and bountifully prolific artist at work.
Recorded at the famed Fantasy Studios in Berkeley, CA, the first side is a three part suite ‘Perfumes I-III’, with the title a perfect allegory for the way her music diffuses and intoxicates with the quality of warm skin radiating gentle energy. She spends the first part coaxing keys into solemn figures and willowing overtones, seemingly in duet with her parallel, ghostly self or perhaps the spirit of Bach, setting the scene for one of most quietly devastating vocal appearances in recent memory when her (?) rich countertenor appears from nowhere in part II, channelling a richness and dreamy strangeness that transcends early choral music, torchlit blues-jazz and the kind of apparitions conjured by Akira Rabelais. The final part III of pealing drones and ultra sparse keys feels like a cats cradle to rest your head and reflect on the exquisite beauty of what just happened.
The B-side’s 21 minute piece ‘If It Pleased Me To Appear To You Wrapped In This Drapery’ provides a fine contrast and counterpoint to the sublime nature of the A-side. Here Sarah uses slowly descending and softly vibrating string pitches to conjure a more visceral, even dissonant sound that achieves something like the keening wow and flutter of a detuned analogue synth, gripping our attention like a master narrator regaling the saddest story of their life.
Don’t hesitate with this one. An essential for late night romanticists.
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Boomkat Product Review:
Sarah Davachi’s ‘Pale Bloom’ sees the preternaturally gifted composer return to her first instrument, the piano, with ineffably graceful results that incorporate vocals to spine-chilling effect.
Served in the wake of a series of albums where Sarah tested her improv mettle on everything from pipe and reed organs to analog synths - garnering a cult following in the process - her first album of 2019 confirms a versatile and bountifully prolific artist at work.
Recorded at the famed Fantasy Studios in Berkeley, CA, the first side is a three part suite ‘Perfumes I-III’, with the title a perfect allegory for the way her music diffuses and intoxicates with the quality of warm skin radiating gentle energy. She spends the first part coaxing keys into solemn figures and willowing overtones, seemingly in duet with her parallel, ghostly self or perhaps the spirit of Bach, setting the scene for one of most quietly devastating vocal appearances in recent memory when her (?) rich countertenor appears from nowhere in part II, channelling a richness and dreamy strangeness that transcends early choral music, torchlit blues-jazz and the kind of apparitions conjured by Akira Rabelais. The final part III of pealing drones and ultra sparse keys feels like a cats cradle to rest your head and reflect on the exquisite beauty of what just happened.
The B-side’s 21 minute piece ‘If It Pleased Me To Appear To You Wrapped In This Drapery’ provides a fine contrast and counterpoint to the sublime nature of the A-side. Here Sarah uses slowly descending and softly vibrating string pitches to conjure a more visceral, even dissonant sound that achieves something like the keening wow and flutter of a detuned analogue synth, gripping our attention like a master narrator regaling the saddest story of their life.
Don’t hesitate with this one. An essential for late night romanticists.
Boomkat Product Review:
Sarah Davachi’s ‘Pale Bloom’ sees the preternaturally gifted composer return to her first instrument, the piano, with ineffably graceful results that incorporate vocals to spine-chilling effect.
Served in the wake of a series of albums where Sarah tested her improv mettle on everything from pipe and reed organs to analog synths - garnering a cult following in the process - her first album of 2019 confirms a versatile and bountifully prolific artist at work.
Recorded at the famed Fantasy Studios in Berkeley, CA, the first side is a three part suite ‘Perfumes I-III’, with the title a perfect allegory for the way her music diffuses and intoxicates with the quality of warm skin radiating gentle energy. She spends the first part coaxing keys into solemn figures and willowing overtones, seemingly in duet with her parallel, ghostly self or perhaps the spirit of Bach, setting the scene for one of most quietly devastating vocal appearances in recent memory when her (?) rich countertenor appears from nowhere in part II, channelling a richness and dreamy strangeness that transcends early choral music, torchlit blues-jazz and the kind of apparitions conjured by Akira Rabelais. The final part III of pealing drones and ultra sparse keys feels like a cats cradle to rest your head and reflect on the exquisite beauty of what just happened.
The B-side’s 21 minute piece ‘If It Pleased Me To Appear To You Wrapped In This Drapery’ provides a fine contrast and counterpoint to the sublime nature of the A-side. Here Sarah uses slowly descending and softly vibrating string pitches to conjure a more visceral, even dissonant sound that achieves something like the keening wow and flutter of a detuned analogue synth, gripping our attention like a master narrator regaling the saddest story of their life.
Don’t hesitate with this one. An essential for late night romanticists.
Boomkat Product Review:
Sarah Davachi’s ‘Pale Bloom’ sees the preternaturally gifted composer return to her first instrument, the piano, with ineffably graceful results that incorporate vocals to spine-chilling effect.
Served in the wake of a series of albums where Sarah tested her improv mettle on everything from pipe and reed organs to analog synths - garnering a cult following in the process - her first album of 2019 confirms a versatile and bountifully prolific artist at work.
Recorded at the famed Fantasy Studios in Berkeley, CA, the first side is a three part suite ‘Perfumes I-III’, with the title a perfect allegory for the way her music diffuses and intoxicates with the quality of warm skin radiating gentle energy. She spends the first part coaxing keys into solemn figures and willowing overtones, seemingly in duet with her parallel, ghostly self or perhaps the spirit of Bach, setting the scene for one of most quietly devastating vocal appearances in recent memory when her (?) rich countertenor appears from nowhere in part II, channelling a richness and dreamy strangeness that transcends early choral music, torchlit blues-jazz and the kind of apparitions conjured by Akira Rabelais. The final part III of pealing drones and ultra sparse keys feels like a cats cradle to rest your head and reflect on the exquisite beauty of what just happened.
The B-side’s 21 minute piece ‘If It Pleased Me To Appear To You Wrapped In This Drapery’ provides a fine contrast and counterpoint to the sublime nature of the A-side. Here Sarah uses slowly descending and softly vibrating string pitches to conjure a more visceral, even dissonant sound that achieves something like the keening wow and flutter of a detuned analogue synth, gripping our attention like a master narrator regaling the saddest story of their life.
Don’t hesitate with this one. An essential for late night romanticists.
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Boomkat Product Review:
Sarah Davachi’s ‘Pale Bloom’ sees the preternaturally gifted composer return to her first instrument, the piano, with ineffably graceful results that incorporate vocals to spine-chilling effect.
Served in the wake of a series of albums where Sarah tested her improv mettle on everything from pipe and reed organs to analog synths - garnering a cult following in the process - her first album of 2019 confirms a versatile and bountifully prolific artist at work.
Recorded at the famed Fantasy Studios in Berkeley, CA, the first side is a three part suite ‘Perfumes I-III’, with the title a perfect allegory for the way her music diffuses and intoxicates with the quality of warm skin radiating gentle energy. She spends the first part coaxing keys into solemn figures and willowing overtones, seemingly in duet with her parallel, ghostly self or perhaps the spirit of Bach, setting the scene for one of most quietly devastating vocal appearances in recent memory when her (?) rich countertenor appears from nowhere in part II, channelling a richness and dreamy strangeness that transcends early choral music, torchlit blues-jazz and the kind of apparitions conjured by Akira Rabelais. The final part III of pealing drones and ultra sparse keys feels like a cats cradle to rest your head and reflect on the exquisite beauty of what just happened.
The B-side’s 21 minute piece ‘If It Pleased Me To Appear To You Wrapped In This Drapery’ provides a fine contrast and counterpoint to the sublime nature of the A-side. Here Sarah uses slowly descending and softly vibrating string pitches to conjure a more visceral, even dissonant sound that achieves something like the keening wow and flutter of a detuned analogue synth, gripping our attention like a master narrator regaling the saddest story of their life.
Don’t hesitate with this one. An essential for late night romanticists.
Back in stock.
Out of Stock
Boomkat Product Review:
Sarah Davachi’s ‘Pale Bloom’ sees the preternaturally gifted composer return to her first instrument, the piano, with ineffably graceful results that incorporate vocals to spine-chilling effect.
Served in the wake of a series of albums where Sarah tested her improv mettle on everything from pipe and reed organs to analog synths - garnering a cult following in the process - her first album of 2019 confirms a versatile and bountifully prolific artist at work.
Recorded at the famed Fantasy Studios in Berkeley, CA, the first side is a three part suite ‘Perfumes I-III’, with the title a perfect allegory for the way her music diffuses and intoxicates with the quality of warm skin radiating gentle energy. She spends the first part coaxing keys into solemn figures and willowing overtones, seemingly in duet with her parallel, ghostly self or perhaps the spirit of Bach, setting the scene for one of most quietly devastating vocal appearances in recent memory when her (?) rich countertenor appears from nowhere in part II, channelling a richness and dreamy strangeness that transcends early choral music, torchlit blues-jazz and the kind of apparitions conjured by Akira Rabelais. The final part III of pealing drones and ultra sparse keys feels like a cats cradle to rest your head and reflect on the exquisite beauty of what just happened.
The B-side’s 21 minute piece ‘If It Pleased Me To Appear To You Wrapped In This Drapery’ provides a fine contrast and counterpoint to the sublime nature of the A-side. Here Sarah uses slowly descending and softly vibrating string pitches to conjure a more visceral, even dissonant sound that achieves something like the keening wow and flutter of a detuned analogue synth, gripping our attention like a master narrator regaling the saddest story of their life.
Don’t hesitate with this one. An essential for late night romanticists.
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