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An Echo of Something I Can’t Remember
Paralaxe EditionsThe Frost of Time
Hard ReturnTransactions In Time
czaszka (rec.)At times the record feels like a glacial cast of minimal techno, particularly on 11-minute closer “Exciting Vertebrate”, with pointillist harmonies splashed between the sweep of a robotic searchlight. Both “Mirror Light” and the title track centre on juddering bass pulses – the former accompanied by the jousting of plastic straws, the latter featuring what resembles a wand scraped across a large metal spring. “Immortality For All Birds” is the record’s beautiful anomaly, like looped duet for feedback and cuckoo clock, receding and approaching as if traversing the spectrum of dream fidelity. And perhaps our relationship with dreams offer a solid precedent for Transactions In Time – earthly chronology is suspended, and we’re brought into something strange and unfathomable, yet internally coherent and perfect somehow. ~ Jack Chuter, ATTN, 2022
The Plumb Sutra
Bezirk TapesThe spirits are confused and dancing on Daphne X’s transfixing The Plumb Sutra. Recorded in an isolated house in the Galicia region of Spain, The Plumb Sutra is folk music from an alternate universe. Cryptic patterns keep finding their way to the surface throughout the album, the rhythmic cadences imbued with a layer of ghost dust that find surprising ways to entrance listeners. In Galician folklore, the Miño River was home to witches, animals, and amphibian-humans that lived together peacefully, and on The Plumb Sutra, Daphne X brings that spirit to life
~ Brad Rose, Foxy Digitalis, Nov 2021
The Dissolution of Eva
ExilesÀgua Viva
tsss tapesWater, or more specifically its collision with different surfaces, is the focus of Daphne X’s Água Viva. The Barcelona-based Greek sound artist presents four recordings of the liquid hitting polyester, metal and skin. Like all the best ideas this is a relatively simple one, but the decision to commit these events to tape pushes you to pay attention in new ways. Daphne X (aka Daphne Xanthopoulou’s) approach to field recording is the audio equivalent of a scientific illustrator not necessarily striving for photorealism, but exaggerating salient features. At times the recordings have been affected subtly, sounds looped or frequencies bolstered, affording more space and amplification to certain events. At others, the mics have been expertly placed to let incidental information and hints of location and situation creep in and take centre stage. Listening to the drops and splashes ends up strangely addictive. I find my brain attempting to map the time and space in which the recordings took place, as every eerie echo and subtle resonance is rendered as a question with no clear answer. ~ Daryl Worthington, Spool's Out, The Quietus , Oct 2020