Sarah Davachi
Vergers
Boomkat Product Review:
Sarah Davachi’s third LP, written for the rare EMS Synthi100, violin, and her own voice, wasn’t the first time we were struck by her music, but it is the one where her style of meditative, sylvan minimalism really “clicked” with us, and we’d daresay many others.
Davachi has since wowed the world with her free-ranging approach to any instrument within sight/earshot, as she’s become well admired for turning up at venues for live shows sans instrument, alchemically turning whatever synth or organ is at hand into audible gold - an approach which she distilled to enchanted and acclaimed degrees on All My Circles Run [Students of Decay, 2017].
Vergers’ three works render that methodical and open-ended style in absorbing longform on the 21 minute Gentle So Gentle, along with the chilling spirits of Ghosts and All and the diaphanous mass of keening tones, In Staying, each serving to frame her work at its most elusive and illusive, and providing a contrasting, gauzier timbral relief to her instrumentally focussed work.
In the field of contemporary, minimalist composition, Gentle So Gentle is up there with Kara-Lis Coverdale’s Grafts for us, casting its spell with such subtlety that shimmering new aspects seem to appear with each return listen, kinda like gazing back onto the same panorama at twilight, for it to appear familiar, yet different each time, whilst Ghosts and All almost feel like a Loren Connors chord change slowed down into infinity and In Staying holds the listener’s gaze like a devastating Kevin Drumm stare-out, sucking you into its harmonic vortex.
Essential listening, we rate you’ll agree.
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Boomkat Product Review:
Sarah Davachi’s third LP, written for the rare EMS Synthi100, violin, and her own voice, wasn’t the first time we were struck by her music, but it is the one where her style of meditative, sylvan minimalism really “clicked” with us, and we’d daresay many others.
Davachi has since wowed the world with her free-ranging approach to any instrument within sight/earshot, as she’s become well admired for turning up at venues for live shows sans instrument, alchemically turning whatever synth or organ is at hand into audible gold - an approach which she distilled to enchanted and acclaimed degrees on All My Circles Run [Students of Decay, 2017].
Vergers’ three works render that methodical and open-ended style in absorbing longform on the 21 minute Gentle So Gentle, along with the chilling spirits of Ghosts and All and the diaphanous mass of keening tones, In Staying, each serving to frame her work at its most elusive and illusive, and providing a contrasting, gauzier timbral relief to her instrumentally focussed work.
In the field of contemporary, minimalist composition, Gentle So Gentle is up there with Kara-Lis Coverdale’s Grafts for us, casting its spell with such subtlety that shimmering new aspects seem to appear with each return listen, kinda like gazing back onto the same panorama at twilight, for it to appear familiar, yet different each time, whilst Ghosts and All almost feel like a Loren Connors chord change slowed down into infinity and In Staying holds the listener’s gaze like a devastating Kevin Drumm stare-out, sucking you into its harmonic vortex.
Essential listening, we rate you’ll agree.
Boomkat Product Review:
Sarah Davachi’s third LP, written for the rare EMS Synthi100, violin, and her own voice, wasn’t the first time we were struck by her music, but it is the one where her style of meditative, sylvan minimalism really “clicked” with us, and we’d daresay many others.
Davachi has since wowed the world with her free-ranging approach to any instrument within sight/earshot, as she’s become well admired for turning up at venues for live shows sans instrument, alchemically turning whatever synth or organ is at hand into audible gold - an approach which she distilled to enchanted and acclaimed degrees on All My Circles Run [Students of Decay, 2017].
Vergers’ three works render that methodical and open-ended style in absorbing longform on the 21 minute Gentle So Gentle, along with the chilling spirits of Ghosts and All and the diaphanous mass of keening tones, In Staying, each serving to frame her work at its most elusive and illusive, and providing a contrasting, gauzier timbral relief to her instrumentally focussed work.
In the field of contemporary, minimalist composition, Gentle So Gentle is up there with Kara-Lis Coverdale’s Grafts for us, casting its spell with such subtlety that shimmering new aspects seem to appear with each return listen, kinda like gazing back onto the same panorama at twilight, for it to appear familiar, yet different each time, whilst Ghosts and All almost feel like a Loren Connors chord change slowed down into infinity and In Staying holds the listener’s gaze like a devastating Kevin Drumm stare-out, sucking you into its harmonic vortex.
Essential listening, we rate you’ll agree.
Boomkat Product Review:
Sarah Davachi’s third LP, written for the rare EMS Synthi100, violin, and her own voice, wasn’t the first time we were struck by her music, but it is the one where her style of meditative, sylvan minimalism really “clicked” with us, and we’d daresay many others.
Davachi has since wowed the world with her free-ranging approach to any instrument within sight/earshot, as she’s become well admired for turning up at venues for live shows sans instrument, alchemically turning whatever synth or organ is at hand into audible gold - an approach which she distilled to enchanted and acclaimed degrees on All My Circles Run [Students of Decay, 2017].
Vergers’ three works render that methodical and open-ended style in absorbing longform on the 21 minute Gentle So Gentle, along with the chilling spirits of Ghosts and All and the diaphanous mass of keening tones, In Staying, each serving to frame her work at its most elusive and illusive, and providing a contrasting, gauzier timbral relief to her instrumentally focussed work.
In the field of contemporary, minimalist composition, Gentle So Gentle is up there with Kara-Lis Coverdale’s Grafts for us, casting its spell with such subtlety that shimmering new aspects seem to appear with each return listen, kinda like gazing back onto the same panorama at twilight, for it to appear familiar, yet different each time, whilst Ghosts and All almost feel like a Loren Connors chord change slowed down into infinity and In Staying holds the listener’s gaze like a devastating Kevin Drumm stare-out, sucking you into its harmonic vortex.
Essential listening, we rate you’ll agree.
More from Sarah Davachi:
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Sarah Davachi In Concert & In Residence Late Music Modern Classical / Ambient- MP3
- FLAC
- WAV
- 2CD
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Sarah Davachi Two Sisters Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Colour 2LP
- 2LP (Black Vinyl)
- 2CD
-
Sarah Davachi Alas, Departing Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
Sarah Davachi En Bas Tu Vois Late Music Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
Sarah Davachi Antiphonals Late Music Electronic
- MP3
- FLAC
- WAV
- LP (Black Vinyl)
- CD
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