Circuit Des Yeux | Hus 7
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Artist: Circuit Des YeuxDatum: onsdag 12 novemberLokal: Hus 7Insläpp: 19:00Live: ca 20.00Åldersgräns: 13+ år i målsmans sällskap/18+, läs mer om…
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Artist: Circuit Des YeuxDatum: onsdag 12 novemberLokal: Hus 7Insläpp: 19:00Live: ca 20.00Åldersgräns: 13+ år i målsmans sällskap/18+, läs mer om åldersgräns: https://slakthusen.se/aldersgr…Väskförbud: Ja, läs mer: https://slakthusen.se/vaskforb…
Last fall, when Circuit des Yeux (aka CdY, aka Haley Fohr) released
the stand-alone single “God Dick,” she described the song as a passage
leading from the past toward things to come. “It served a chrysalis
function,” she wrote of the track, which morphs between orchestral
grandeur and shuddering electronic percussion. Leaning in deeper, Fohr
called it, “A love banshee bursting through porcelain skin one hair at a
time until, finally, the beast within is fully on display.”
Out
March 14th, Halo on the Inside is the product of that metamorphosis. It
is the butterfly and the beast – a rhapsodic, hedonistic, dance
floor-adjacent, pagan-friendly, horns-adorning wall of sound and
emotion. Halo on the Inside finds CdY renewed, recombinant, and
thrillingly alien.
“I can make a radio break,” Fohr
sings on the pulsing, John Carpenter-esque slasher rave of “Canopy of
Eden.” On “Megaloner” – with its electro-stomp and surreal Donnie
Darko-ish mood – she invokes “fate in all the fires you make” on her
catchiest chorus to date. The two songs offer an opening jolt of dark
and expansive pop, at once insular and empowered, strange and sensual.
A
Chicago based musician, composer, and multidisciplinary artist, Fohr’s
work defies easy categorization. It has encompassed critically acclaimed
albums, free-form improvisation, painting, audio visual installations,
and large ensemble compositions. She has performed in an anechoic
chamber (a room with no echo), written for a 50-piece children’s choir,
and plunged from a rooftop (under the supervision of a
stunt-coordinator).
Bringing Halo to fruition involved
numerous changes in Fohr’s typical methods of operation. She worked at
night. Throughout the writing, Fohr was living alone, slipping down to
her basement studio from 9 p.m. to 5 a.m. to free her mind, her voice,
her hands. These late hours should not be understood as grim and
isolative, though. It was a quiet space for uninhibited exploration. She
turned herself loose on unfamiliar tools, winding her way through
pedals and synthesizers, finding “play and melody through software
malfunction and feedback.”
These graveyard shift writing
sessions resulted in a revelation for the musician. “I found a very
surprising, small voice in me, and it was deep, deep behind my heart,”
Fohr says. She discovered it in the solitary quiet of her studio space,
with the city outside hushed enough for Fohr to hear the rhythms of her
organs in sync with one another—her own inner symphony. She continued
working around that concept for eight more months, carving Halo on the
Inside out of her reinvigorated relationships with solitude and herself.
And then she looked outward.
A trip to Greece ignited
in Fohr an interest in the character of Pan, the mythological, flute
playing half-goat, half-man. His story of transformation, melody,
fertility, and eventual demise served as a moodboard to the album's
rapturous, brightly burning moments. You can hear it in “Anthem Of Me,”
as sci-fi pads, bit-crushed distortions, and cavernous kick drums
dissolve into twinkling piano drops while Fohr’s siren-like voice calls:
“It’s an anthem of me. It will rock you.”
The process
was adjourned in a trip to Minneapolis to complete the record with
producer Andrew Broder (Bon Iver, Moor Mother, Lambchop). The album’s
centrepiece, Cathexis, puts the pair’s creative chemistry on full
display. Haley’s seemingly limitless voice interplays with Broder’s
cathartic guitar coda, offering perhaps the album’s most ascendant
moment.
The center of Halo remains Fohr’s voice. It is a
powerful, seemingly supernatural instrument — a four-octave span that
can span gentle melodic hooks, animalistic bleats, and elemental wails.
Here, Fohr makes use of its full range in maximalist compositions that
swerve fearlessly between genres and styles. “Through the process of
making this music I was able to rewind myself to a time before fear,”
she says. “And in the absence of fear I found the intimate beat of sex,
love, and melody”.
There’s shock in metamorphosis, Halo
On The Inside tells us, but there’s also levity and beauty. A moment of
seclusion and dislocation yielding to rebirth and ominous beauty.