For the best part of a decade, Sarah Davachi has been pursuing electroacoustic experiments that have been breathing new life into the genres of ambient, drone and minimalism. By employing an array of both ancient and modern instruments, the prolific Canadian composer can summon soundscapes that can be haunting, meditative and unusual – often all at once.
After studying piano into her late teenage years, Davachi developed an approach to composition that continues to shape the medieval mournful drones of her new studio album, Antiphonals.
Davachi is effortlessly able to take the listener swimming through feelings of hope, introspection and mourning. The instrumental mastery of Davachi is undeniable, but it is her ability to evoke these deep feelings that makes her work memorable.
‘Antiphonals was borne of a desire to merge my studio practice with the tonal characteristics and sound-on-sound tape delay processes that have informed my approach to live performance for many years,’ Davachi says
During her latest explorations, Davachi has taken inspiration from her collection of ’70s prog rock LPs to meld with her medieval and Renaissance disciplines, resulting in her 15th studio album Antiphonals.
LOUD AND QUIET
Using a soft instrumental palette of Mellotron and keyboards, Canadian minimalist composer Sarah Davachi welcomes listeners into her fortress of solitude.
It’s a defining work for Davachi that once again demonstrates her uncanny ability to draw new and arresting shapes and feelings from familiar materials.
1 Chorus Scene
3 First Cadence
4 Gradual of Image
5 Border of Mind
7 Rushes Recede
8 Doubled Flutes