Sarah Davachi | Rebuild Foundation, Stony Island Bank | Experimental | Chicago Reader
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Sarah Davachi

Sarah Davachi

R. Smith

When: Sat., Jan. 28, 8 p.m. 2017
Price: Free with RSVP at sarahdavachi.eventbrite.com
Over the last few years Canadian sound artist and composer Sarah Davachi has demonstrated a broad command of tools in her music, using a wide variety of instruments and synthesizers to arrive at a place where her sonorous long tones slowly undulate, coalesce, and resonate in gorgeous drones. Her aesthetic sensibility seems shaped largely by the exquisitely patient work of French electronic music composer Éliane Radigue, but Davachi has forged her own style, occasionally moving more rapidly and opting for compositions that reach their destinations in less time. Her November album Vergers (Important) was created primarily with an EMS Synthi 100, an early 70s analog synth of which only 40 were ever manufactured, though recordings of her voice and violin shade the hypnotic pieces as they float through space in luxurious fashion, casting a kind of sensual light. Another new album, called All My Circles Run (Students of Decay), turns to electronically manipulated acoustic instruments with results that are every bit as texture rich and mesmerizing even as shards of melody and harmony billow from each work; on “For Voice” sustained, wordless vocalization overlap and curve to create haunting shapes, while on “For Piano” Satie-esque fragments are slowly subsumed by a buzzing drone that grows more serrated with every passing moment. For her Chicago debut—rescheduled from a sudden cancellation in November—Davachi will present a new work for analog synth, harmonium, and cellos that promises to explore the sonic properties of the Stony Island Arts Bank.
— Peter Margasak

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