Release Date: Sep 14, 2018
Record label: Ba Da Bing Records
Sarah Davachi's music often hovers in a world between wake and sleep. Since the Canadian minimalist's first tape, The Untuning Of The Sky, she's spent the last five years exploring extended dronescapes, where soporific tones emerge over time as the listener's heart rate slows and their ear adjusts to the dragged-out textures that unfold. Davachi's music is a patient exercise in resonance and calm, and maybe the longform, focussed approach that she takes represents a blissful antidote to hyper, multi-platformed, always-morphing modern life.
Such is the case here, as multi-instrumentalist Sarah Davachi recognizes that some raw textures of early sacred and secular music can be the bases of new pieces that, though clearly acknowledging their origins, never descend into mere pastiche. The late 1960s-early '70s revival of interest in medieval music, prompted to a great extent by David Munrow and his Early Music Consort, then led on to a growing appreciation for the output of the Baroque period played on original instruments from that time. This "authenticist" movement, although occasionally a little strident, nevertheless contributed to an increased understanding of how music was played and received across the centuries.
Sarah Davachi's ninth record in five years, Gave in Rest, arrives just when the Canadian minimalist is on the cusp of breaking into a new tier of recognition. April's Let Night Come on Bells End the Day was a work of sombre drone beauty, whilst last year's All My Circles Run established her as an artist willing to break away from the synthesizer to explore the warm potential of acoustic instrumentation. Gave In Rest by Sarah Davachi Gave in Rest reflects Davachi's interest in medieval and Renaissance period musics.