As a composer and performer of electroacoustic 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. The instrumentation she employs is varied, including electric organ, pipe and reed organ, piano, tape-replay samplers, analog synthesizers, voice, early Western strings and keyboards, and orchestral strings, brass, and woodwinds, with mutual idioms often layered in tonal counterpoint. 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.
In addition to her acclaimed recorded output, including 2019's Pale Bloom on Superior Viaduct and 2018's Gave in Rest on Ba Da Bing, Davachi operates the record label Late Music, founded in 2020 with the partner labels division of Warp Records; Cantus, Descant, a double LP of new works for pipe organ, reed organ, and electric organ, is the imprint's first release.
Important, Constellation Tatsu, Full Spectrum Records, Jaz Records, Student of Decay
Gave in Rest (2018), Let Night Come On Bells End The Day (2018), All My Circles Run (2017), Dominions (2016), Vergers (2016), Barons Court (2015), Qualities Of Bodies Permanent (2015)