Matchess
Sonescent
Boomkat Product Review:
Matchess beautifully dematerialises psychedelic songcraft into psychoacoustic forms with strong nods to Eliane Radigue and Ian William-Craig on her beautifully illusive debut for Drag City.
’Sonescent’ is an ideal title for Whitney Johnson’s ear-craning endeavours as Matchess, one that quite literally evokes the near subliminal process of decayed ageing (senescence) and leaching surface textures (phosphorescence) that she subjects her sounds to. To be fair, we’re not 100% sure of the process, but, like Eliane Radigue, The Caretaker, Ian William-Craig or William Basinski the enigma accounts for half the appeal to Matchess’ music here.
Departing farther from the legible structure of her earlier work with Chicago’s Verma, and more recently Circuit Des Jeux, and coming perhaps closer to her guest chops for likes of Brett Naucke for Spectrum Spools, the two pieces of ’Sonescent’ operate by almost extra-sensory perceptions, initially feeling her way from negative (but not spooky) space thru spectral choral inference to deliciously groggy tones and richly sonorous presences on ‘Almost Gone’, before edging more into a half light of rustic, folkwizened string drone that passes out into pure tonal abstraction and resolves in eyrie chamber zones on ‘Through The Wall’.
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Boomkat Product Review:
Matchess beautifully dematerialises psychedelic songcraft into psychoacoustic forms with strong nods to Eliane Radigue and Ian William-Craig on her beautifully illusive debut for Drag City.
’Sonescent’ is an ideal title for Whitney Johnson’s ear-craning endeavours as Matchess, one that quite literally evokes the near subliminal process of decayed ageing (senescence) and leaching surface textures (phosphorescence) that she subjects her sounds to. To be fair, we’re not 100% sure of the process, but, like Eliane Radigue, The Caretaker, Ian William-Craig or William Basinski the enigma accounts for half the appeal to Matchess’ music here.
Departing farther from the legible structure of her earlier work with Chicago’s Verma, and more recently Circuit Des Jeux, and coming perhaps closer to her guest chops for likes of Brett Naucke for Spectrum Spools, the two pieces of ’Sonescent’ operate by almost extra-sensory perceptions, initially feeling her way from negative (but not spooky) space thru spectral choral inference to deliciously groggy tones and richly sonorous presences on ‘Almost Gone’, before edging more into a half light of rustic, folkwizened string drone that passes out into pure tonal abstraction and resolves in eyrie chamber zones on ‘Through The Wall’.
Boomkat Product Review:
Matchess beautifully dematerialises psychedelic songcraft into psychoacoustic forms with strong nods to Eliane Radigue and Ian William-Craig on her beautifully illusive debut for Drag City.
’Sonescent’ is an ideal title for Whitney Johnson’s ear-craning endeavours as Matchess, one that quite literally evokes the near subliminal process of decayed ageing (senescence) and leaching surface textures (phosphorescence) that she subjects her sounds to. To be fair, we’re not 100% sure of the process, but, like Eliane Radigue, The Caretaker, Ian William-Craig or William Basinski the enigma accounts for half the appeal to Matchess’ music here.
Departing farther from the legible structure of her earlier work with Chicago’s Verma, and more recently Circuit Des Jeux, and coming perhaps closer to her guest chops for likes of Brett Naucke for Spectrum Spools, the two pieces of ’Sonescent’ operate by almost extra-sensory perceptions, initially feeling her way from negative (but not spooky) space thru spectral choral inference to deliciously groggy tones and richly sonorous presences on ‘Almost Gone’, before edging more into a half light of rustic, folkwizened string drone that passes out into pure tonal abstraction and resolves in eyrie chamber zones on ‘Through The Wall’.
Boomkat Product Review:
Matchess beautifully dematerialises psychedelic songcraft into psychoacoustic forms with strong nods to Eliane Radigue and Ian William-Craig on her beautifully illusive debut for Drag City.
’Sonescent’ is an ideal title for Whitney Johnson’s ear-craning endeavours as Matchess, one that quite literally evokes the near subliminal process of decayed ageing (senescence) and leaching surface textures (phosphorescence) that she subjects her sounds to. To be fair, we’re not 100% sure of the process, but, like Eliane Radigue, The Caretaker, Ian William-Craig or William Basinski the enigma accounts for half the appeal to Matchess’ music here.
Departing farther from the legible structure of her earlier work with Chicago’s Verma, and more recently Circuit Des Jeux, and coming perhaps closer to her guest chops for likes of Brett Naucke for Spectrum Spools, the two pieces of ’Sonescent’ operate by almost extra-sensory perceptions, initially feeling her way from negative (but not spooky) space thru spectral choral inference to deliciously groggy tones and richly sonorous presences on ‘Almost Gone’, before edging more into a half light of rustic, folkwizened string drone that passes out into pure tonal abstraction and resolves in eyrie chamber zones on ‘Through The Wall’.
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Boomkat Product Review:
Matchess beautifully dematerialises psychedelic songcraft into psychoacoustic forms with strong nods to Eliane Radigue and Ian William-Craig on her beautifully illusive debut for Drag City.
’Sonescent’ is an ideal title for Whitney Johnson’s ear-craning endeavours as Matchess, one that quite literally evokes the near subliminal process of decayed ageing (senescence) and leaching surface textures (phosphorescence) that she subjects her sounds to. To be fair, we’re not 100% sure of the process, but, like Eliane Radigue, The Caretaker, Ian William-Craig or William Basinski the enigma accounts for half the appeal to Matchess’ music here.
Departing farther from the legible structure of her earlier work with Chicago’s Verma, and more recently Circuit Des Jeux, and coming perhaps closer to her guest chops for likes of Brett Naucke for Spectrum Spools, the two pieces of ’Sonescent’ operate by almost extra-sensory perceptions, initially feeling her way from negative (but not spooky) space thru spectral choral inference to deliciously groggy tones and richly sonorous presences on ‘Almost Gone’, before edging more into a half light of rustic, folkwizened string drone that passes out into pure tonal abstraction and resolves in eyrie chamber zones on ‘Through The Wall’.
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Matchess Almost Gone [Excerpt] Drag City Modern Classical / Ambient- MP3
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Matchess Fundamental 256 Hz Longform Editions Modern Classical / Ambient
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