Sarah Davachi's projects are primarily concerned with disclosing the delicate psychoacoustics of intimate aural spaces, utilizing extended durations and simple harmonic structures that emphasize subtle variations in overtone complexity, temperament and intonation, and natural resonances. The instrumentation she employs is varied, including analog synthesizers, piano, electric organ, pipe and reed organ, voice, tape-replay samplers, orchestral strings, and woodwinds, with mutual idioms often layered in textural and timbral counterpoint.
A composer and performer of electroacoustic music, creating works both contemplative and beatific, eerie yet essentially human.
Ever prolific, Sarah's latest album release (following last year's sublime Gave In Rest for Ba Da Bing) is Pale Bloom, out on Superior Viaduct in May 2019, which sees her return to the piano for a radiant work of quiet minimalism and poetic rumination.
'Like Brian Eno at his solo best, it's the sort of ambience that doesn't flood, that hovers precariously somewhere between the conscious and the unconscious, barely there and indisputably present' - Pitchfork