At its heart, The Voice Calling is magical and mystical music that defies the current conventions of time and space. It flies both inside and way up above, like an eagle in your mind. The physical Earth is left behind as the music transitions to another dimension. It wants to take you on the journey; an out-of-body experience awaits. Using an Indian pedal harmonium and the human voice (and ornamented with oscillators, synthesizers and tape delays), Mind Over Mirrors (Jaime Fennelly) fills a black void with a thousand gemstones. They are colourful, spinning and occasionally winking as they orbit their celestial synths. They glint in the light of a distant sun.
On The Voice Calling, Fennelly is joined by Haley Fohr of Circuit des Yeux; her voice cries out, oscillating in time to the snaking vibrations that swell out of the synths. The result is otherworldly music where pristine, glass palaces hide empty, royal thrones that have been constructed for an as-yet-unknown, highly advanced species. The species of music has transcended, and in the process it has swiped away the mundanity of life on Earth. Electronics glisten and gleam like darkly radiant crystals. Symmetrical vibrations are as perfectly formed as crop circles, and they’re sent out in meditative, rhythmically precise frequencies that aim to sedate the mind, body and soul. The often wordless, deep and resonating cries of Fohr seem to come from deep within her body. Liquid waves of transcendent sound gush out from the repeating, zen-like tones. The music soars.
Hidden tones hold secret, pyramidal passages that open up as soon as you step nearer. They want you, the listener, to walk inside. You’re given the time to explore the relatively complex and yet never overwhelming music. Structures start to rise up and out from the varying patterns. It’s yin and yang; prisms of sunshine as seen through drops of rain. Advances in electronic and experimental technology weld with the completely natural world of human emotions and human speech. That’s what really sends the music into the higher dimensions. Together, their sound is unbelievably good. The synths are lasers, and they fire out the notes with clarity and accuracy as they advance. One can’t help but feel that this inclusion will now (hopefully, at least) become a permanent one, so ‘right’ is the sound when the two are united. (James Catchpole)
Release Date: September 18