Sarah Davachi

Experience
MUTEK 2019, spain

Antigua Fabrica Estrella Damm - Maquinas
09/03/2019

Sarah Davachi composes experiences, her environments built on a minimalist yet all-enveloping music of psychoacoustic phenomena and physicality. These “irreal” worlds evolve gradually, Davachi's precise drones, harmonies, complex overtones and natural phasing patterns shift from harmonic progression into stillness, always with an expressive, complex emotion lurking in the vibrations.

Davachi debuts in Barcelona with her lush psychoacoustic performance of extended overtones, ghost frequencies and beating patterns of heavy drone and expansive resonance.

Presented with the support of the Embassy of Canada in Spain.

        

 

Red Bull Music Academy presents NOCTURNE 3
MUTEK 2017, montreal

MTELUS
24/08/2017

Sarah Davachi composes experiences, her environments built on a minimalist yet all-enveloping music of psychoacoustic phenomena and physicality. These “irreal” worlds evolve gradually, Davachi's precise drones, harmonies, complex overtones and natural phasing patterns shift from harmonic progression into stillness, always with an expressive, complex emotion lurking in the vibrations.

Davachi fashions organs, strings, woodwinds, antiquated instruments and forgotten sonics into tapestries of multichannel sound, the original instruments often rendered unfamiliar through analog and modular synthesis. Many of her albums harness older synthesizers such as an EMS Synthi 100 and Buchlas to create a thick texture of sustained synth and acoustic tones that transform into melody, while fore-fronting the rich range of “imperfections” in oscillation and tune. Her album, All My Circles Run, eschews synths for one acoustic instrument per circular track, meditative overdubs exploring the depths of strings, voice, organ and piano. In performance, Davachi prefers to occupy acoustically unique spaces – caves, boathouses, churches – for dedicated listening in the dark, incorporating analog synthesizers, samples of cello, organ and harmonium that share a mutual timbral quality —while consciously including the space itself in her orchestra of sound.

Davachi returns to MUTEK informed by recent collaborations and a European tour of unconventional spaces, her lush psychoacoustic performance of extended overtones, ghost frequencies and beating patterns embedded in a night of heavy drone and expansive resonance.

NOCTURNE 2
MUTEK 2016, montreal

Musée d'art contemporain de Montréal (MAC) - Main Room
02/06/2016

WHO: Vancouver, now Montréal-based musician, composer and musicologist Sarah Davachi
STYLE: Minimal electronic and electroacoustic compositions, synthesized ambient sonics of a bygone era, extended drones and harmonic textures
LATEST WORK: Barons Court (2015), Qualities Of Bodies Permanent (2015), neustadt/altstadt EP (2015), Σ = 4 (2015)
LABELS: Students of Decay, Constellation Tatsu, Cassauna
MORE: Holds an MFA in electronic music and recording media from Mills College in Oakland, California and works for the National Music Centre in Calgary as an interpreter, researcher and archivist of their collection of acoustic and electronic keyboard instruments

Sarah Davachi’s compositions turn recordings of organs, strings, woodwinds, antiquated instruments and forgotten sonics into environments of multichannel sound, the original instruments rendered unfamiliar through analog and modular synthesis. Focused on psychoacoustic phenomena and physicality, she builds evolving spaces and “irreal” worlds out of music that moves from drones to harmonies to complex overtones and natural phasing patterns.

Her new album, Barons Court, uses older synthesizers, including Buchlas to create a thick texture of sustained synth and acoustic string, harmonium and flute tones that often transform into melody – all forefronting the rich range of synths’ imperfections in oscillation and tune. Davachi’s electroacoustic performances incorporate analog synthesizers (including Sequential Circuits Pro One and/or EMS Synthi AKS and various effects) and acoustic samples of instruments that share a mutual timbral quality, such as cello, organ and harmonium.

Davachi comes to MUTEK with a psychoacoustic performance that conjures a lush and enveloping three dimensional environment of extended overtones, ghost frequencies, beating patterns and associated resonant behaviours.

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