Boomkat Product Review:
Preeminent sound poet and ASMR auteur Félicia Atkinson follows 2017’s cherished ‘Hand In Hand’ LP with a spellbinding study on loneliness and intimacy, crafted while pregnant and on tour, staying in impersonal hotel rooms in foreign cities. Félicia notably draws Sunn 0)))’s Stephen O’Malley into her meso plane on the collaborative 18 minute closing cut ‘Des Pierres’. Predictably, this album is a total pearl.
To enter any Felicia Atkinson album is to give yourself up to another world where perceptions of time and space subliminally become short-circuited and synaesthetic. Combining illusive electro-acoustic process and meticulously tactile vocals reciting hushed poetry, Felicia’s music rarely fails to provide anything other than an intoxicating experience, and her powers of perception appear to be uniquely attuned on ‘The Flower And The Vessel’. As she states; “this is not a record about being pregnant, it’s a record made with pregnancy”, and as such the results are more ambiguous, riddled with a cosmic web of references to musical memory and onotology, as much as nature and the strange subtleties of the everyday.
The album’s theme of loneliness while touring has historically provided much grist to the artistic mill over the years, but rather than tales of excess and depression, Félicia typically handles her subject matter more calmly, meditatively, using small gestures such as “recording my voice, recording birds, a simple melody” to locate her place in the foreign worlds around her, and in the process answer the questions “What am I doing here? How can I connect to the world?”.
The first 10 tracks are barely watermarked with her presence, with opener ‘L’Après-Midi’ acting as a poetic vlog-like diary entry, where she fills in subsequent pages with a mix of notes both metaphorical and musical, from the unsettling intimations of ’Shirley to Shirley’ inward-spiralling vocals of ‘You Have to Have Eyes’, to the micro-to-macro contemplation ‘Linguistics of the Atom’, while album highlights ‘Lush’ and ‘L’Enfant Et Le Poulpe’ speak to a elusive sense of the pastoral, perhaps as viewed form a distance.
When she finally does meet another tangible soul, Stephen O’Malley, in the 18 minute finale ‘Des Pierres’, it’s testament to both her own vision and O’Malley’s tactile range that his harmoniously strung-out contribution is so seamlessly woven into her parallel dimension, that you may need to be reminded he’s there, sublimated in-the-mix.