Poised at the Edge of Structure
Ana Fosca
Poised at the Edge of Structure
Boomkat Product Review:
Coarse grained industrial fug from Danish sound artist Ana Fosca, who debuts on Helen Scarsdale with an ominous, spine-chilling sublimation of power electronics, dark ambient and electro-acoustic energies.
Inspired by Simone de Beauvoir, Sylvia Plath, Andrei Tarkovsky and Eliane Radigue, Fosca works with sound in a poetic manner, using recognizable methods but rarely succumbing to familiar tropes. Her latest full-length is a bleak, sometimes sonically oppressive listening experience where voices curve around scraped strings and looping ferric thickets, building a precise narrative rather than simply mimicking Lustmord or Thomas Köner.
When Fosca pushes into noisier territory on 'Solids in Prism', she avoids easy comparison to scene champions like Puce Mary. Fosca's sounds are obscured by layers of grit, her vocals indistinct and overdriven feedback screams manipulated dynamically to avoid obvious sheet noise posturing. "Poised at the Edge of Structure" functions more like a particularly intoxicating industrial cassette, using the grey and brown-hued palette of Maurizio Bianchi or Ramleh, and spiking it with gooey electro-acoustic moves of Nocturnal Emissions.
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Boomkat Product Review:
Coarse grained industrial fug from Danish sound artist Ana Fosca, who debuts on Helen Scarsdale with an ominous, spine-chilling sublimation of power electronics, dark ambient and electro-acoustic energies.
Inspired by Simone de Beauvoir, Sylvia Plath, Andrei Tarkovsky and Eliane Radigue, Fosca works with sound in a poetic manner, using recognizable methods but rarely succumbing to familiar tropes. Her latest full-length is a bleak, sometimes sonically oppressive listening experience where voices curve around scraped strings and looping ferric thickets, building a precise narrative rather than simply mimicking Lustmord or Thomas Köner.
When Fosca pushes into noisier territory on 'Solids in Prism', she avoids easy comparison to scene champions like Puce Mary. Fosca's sounds are obscured by layers of grit, her vocals indistinct and overdriven feedback screams manipulated dynamically to avoid obvious sheet noise posturing. "Poised at the Edge of Structure" functions more like a particularly intoxicating industrial cassette, using the grey and brown-hued palette of Maurizio Bianchi or Ramleh, and spiking it with gooey electro-acoustic moves of Nocturnal Emissions.
Boomkat Product Review:
Coarse grained industrial fug from Danish sound artist Ana Fosca, who debuts on Helen Scarsdale with an ominous, spine-chilling sublimation of power electronics, dark ambient and electro-acoustic energies.
Inspired by Simone de Beauvoir, Sylvia Plath, Andrei Tarkovsky and Eliane Radigue, Fosca works with sound in a poetic manner, using recognizable methods but rarely succumbing to familiar tropes. Her latest full-length is a bleak, sometimes sonically oppressive listening experience where voices curve around scraped strings and looping ferric thickets, building a precise narrative rather than simply mimicking Lustmord or Thomas Köner.
When Fosca pushes into noisier territory on 'Solids in Prism', she avoids easy comparison to scene champions like Puce Mary. Fosca's sounds are obscured by layers of grit, her vocals indistinct and overdriven feedback screams manipulated dynamically to avoid obvious sheet noise posturing. "Poised at the Edge of Structure" functions more like a particularly intoxicating industrial cassette, using the grey and brown-hued palette of Maurizio Bianchi or Ramleh, and spiking it with gooey electro-acoustic moves of Nocturnal Emissions.
Boomkat Product Review:
Coarse grained industrial fug from Danish sound artist Ana Fosca, who debuts on Helen Scarsdale with an ominous, spine-chilling sublimation of power electronics, dark ambient and electro-acoustic energies.
Inspired by Simone de Beauvoir, Sylvia Plath, Andrei Tarkovsky and Eliane Radigue, Fosca works with sound in a poetic manner, using recognizable methods but rarely succumbing to familiar tropes. Her latest full-length is a bleak, sometimes sonically oppressive listening experience where voices curve around scraped strings and looping ferric thickets, building a precise narrative rather than simply mimicking Lustmord or Thomas Köner.
When Fosca pushes into noisier territory on 'Solids in Prism', she avoids easy comparison to scene champions like Puce Mary. Fosca's sounds are obscured by layers of grit, her vocals indistinct and overdriven feedback screams manipulated dynamically to avoid obvious sheet noise posturing. "Poised at the Edge of Structure" functions more like a particularly intoxicating industrial cassette, using the grey and brown-hued palette of Maurizio Bianchi or Ramleh, and spiking it with gooey electro-acoustic moves of Nocturnal Emissions.
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