REBECCA WILCOX & HANNAH ELLUL – SWEEPING, AT LEAST
“We were interested in the dynamics of encounter, interaction and (dis)orientation. The process has been marked by the stretches of time that shape this back and forth, by a certain lag, as we catch up with one another—a slowed-down, stretched-out kind of experience that is perhaps characteristic of lockdown itself. Most of the sounds come from close to hand, everyday, tactile objects, accidents, or routines. And from the body as it rubs, carries, plays, waits, dawdles with its surroundings. The voices are chatting, syncopating, trying to change position, getting in a mess.”
– Rebecca Wilcox & Hannah Ellul
NEXCYIA – ORIGIN
On new release ‘Origin’, Nexcyia meditates on place, time and being, using thick brushstrokes of swelling synthesis to come to terms with the past and present. Loss and longing haunts each clouded drone, wandering melody and textural wash, creating dense layers that float around and encircle one another in a weightless space. Each track feels like a memory peered through a fogged window, watching as it slowly fades into the distance, or an orchestra heard playing a mile away, amplified over rivers and hills. Nexcyia takes us on a journey with no set co-ordinates, conjuring otherworldly music rooted somewhere that can’t be found.
JOSEPHINE FOSTER – SPELLBINDER / EXPERIMENT
“On Foster’s synth lines we almost think early Laraaji or Emerald Web but with the addition of Josephine’s voice I think more of the complex stylings of Robert Wyatt ‘s songcrafting. I also can’t help but think of Arthur Russell’s disco music experiments as it climaxes into a nice thick beat at the end created by Foster’s organ that seems to tie all the loose ends together. Both tracks on this record are cyclical in their own ways and their complementary nature to each other demands repeated listening, creating yet another cycle of the most experimental of earworms yet by Josephine Foster.” – KA BAIRD