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IN A mesmerising performance, Sarah Davachi delivers two electroacoustic-drenched pieces at London’s foremost avant-garde haven.
During the first, she sits at the piano, where she strikes a chord before turning to a bank of analogue synthesisers, integrating harmony with a mesmeric hum. For the second, London Contemporary Orchestra and the Cafe Oto choir join Davachi for an equally ritualistic piece.
This time, Davachi ditches the piano and moves centre stage behind a table of synths while the choir and orchestra match her drones with gentle hums and strings.
At times the choir, packed liked sardines behind Davachi, are barely audible with their humming a complement to the other performers.
Doubtless, Davachi’s more fully orchestrated album Gave In Rest, released last year, has given a steer to tonight’s sound.
Inspired by cathedrals, churches and religious services, it features haunting deconstructions of vocals and strings, including the acclaimed pieces Evensong and Matins, and its power is on show here.
Such a singular talent for transcending musical boundaries makes this a night to remember.