It was once said that listening to ‘Antiphonals’ was, “like listening to a progressive rock album except it’s just the keyboard parts.” As the second full-length LP on Late Music, Davachi offers here a slow and sedate solo affair composed with the various horns and woodwinds of the mellotron alongside organs, pianos, harpsichord and more quiet delights.

Standard LP in standard 3mm spine printed sleeve, poly-lined inner bag and digital download card.

Available to independent retailers on silver vinyl LP in standard 3mm spine printed sleeve, poly-lined inner bag and digital download card.

As a composer and performer of both acoustic and electronic music, Sarah Davachi’s work is concerned with the close intricacies of intimate aural space, utilizing extended durations and simple harmonic structures that emphasize subtle variations in texture, overtone complexity, psychoacoustic phenomena and temperament and intonation.

Similarly informed by minimalist tenets of the 1960s and 1970s, baroque leanings toward slow-moving chordal suspensions and experimental production practices of the recording studio environment, in her sound is manifest an experience that lessens apprehension of consonance and dissonance in likeness of the familiar and the distant.

Davachi has toured extensively across the globe and has shared the stage and collaborated with artists such as Grouper, William Basinski, Ariel Kalma, the Bozzini Quartet, the London Contemporary Orchestra, Oren Ambarchi, Donald Buchla, Suzanne Ciani, the BBC Scottish Symphony Orchestra, Jessica Moss, Áine O’Dwyer, Alessandro Cortini, James McVinnie, Ian William Craig, Kara-lis Coverdale, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro, Loren Connors and filmmaker Paul Clipson.

Between 2007 and 2017, Davachi had the unique opportunity to work for the National Music Centre in Canada as an interpreter and content developer of their collection of acoustic and electronic keyboard instruments. In 2020, she established her own label, Late Music.