​sarah davachi - antiphonals

​​​​​Sarah Davachi’s music is not easily pinned down. The Canadian composer has crafted an electro-acoustic sound falling into genres of neo-classical, drone, ambient and minimalism, categorisations that she would likely contest. Antiphonals, continues to resist containment, perhaps even more acutely so. Davachi speaks of the album as working in vertical and horizontal planes, and the 8 compositions evoke a transient spatiality, like spectral frequencies passing over the veil from one world into the next.

The album has distinct academic awareness of its music historicity, given Davachi is a PhD Musicology candidate. She places the Mellotron, synonymous with the prog rock era of the 60s and 70s, alongside Minimalist tropes contemporaneous to that age. Songs like Magdalena and First Cadence convey Davachi's masterful control of subtle note development, gentle modulations summoning delicate changes that focus on discreet, shifting harmonic textures. Weightless and elusive, Antiphonals fades in opacity, both fleeting and ambiguous.

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