Sound is somatic. Recently, I had the chance to visit the minster of Ingolstadt. When I was strolling through the 15th-century, late Gothic hall church, two women started to tune its choir organ. Immediately, I felt overrun by a sound vibrating in my bones, yet clear as water. During such moments, even unchristened heathens like myself can understand the appeal of religious practices. For sure, Sarah Davachi does. She reduces it to its sensuous dimension. In the 2010s, the Canadian Drone-artist has distinguished herself as a luminary of her craft.
She now offers another fine beauty in »The Head As Form’d In The Crier’s Choir«. Per usual, she puts forward longanimous compositions borrowing from Baroque and Early music. Expect neither melody nor rhythm. »The Head« is pure harmony – 91 minutes of immaculate vibrancy. Of course, if you bet on one card like this, you easily lose. Davachi’s last album, a quartet for strings, for instance has left me at least rather indifferent. But now she pulls out all her stops sonically. »The Head« rests on a synths, brass, woodwinds, strings, a chamber choir and four different organs. No two seconds sound the same. At this point, I could go on about Davachi’s musicological references or harmonic deliberations. Yet, it might be better to just experience her music somatically. I recommend taking a quarter-hour and playing »Trio for a Ground«. Loudly.
