As a composer and performer of electroacoustic music, Sarah Davachi’s work is concerned with the close intricacies of timbral and temporal space, utilising extended durations and considered harmonic structures that emphasise gradual variations in texture, overtone complexity, psychoacoustic phenomena, and tuning and intonation.

The seven compositions on her new album ‘The Head As Form’d In The Crier’s Choir’, anticipated by ‘Possente Spirto’ and written between 2022 and 2024, form a conceptual suite and an observance of the mental dances that we construct to understand acts of passage; the ways that we commune and memorialize and carry symbols back into the world beyond representation. To this end, The Head as Form’d in the Crier’s Choir engages two references to the ancient Greek myth of Orpheus: Rilke’s Sonnets to Orpheus, a collection of poems from 1922, and Monteverdi’s l’Orfeo, an early baroque opera from 1607. The Head as Form’d in the Crier’s Choir is a supplement of sorts to Two Sisters (2022) and Antiphonals (2021), which were attempts to begin bridging the gap between the fixed electroacoustic pieces that emerge in Davachi’s home studio and her slow-paced, somewhat open-form chamber writing, in which each performance presents a new structure and in which each iteration offers the path to a new composition and deeper meaning. This Is Pop? today’s song of the day is here for you.