danielle fricke – body

– featured images courtesy of sophie harris-taylor –

“album of the fortnight” is an occasional feature that digs into a recent release of note. the articles will run roughly during the middle and at the end of each month, always on a friday; the album or body of work in question will have been released at some point during that two-week span.  this column focuses on art that resonates deeply, on pieces that necessitate more than just a knee-jerk reaction.  next up: the new extended play from danielle fricke.

Danielle fricke has been hibernating for the better part of three years.  the london, ontario, musician released her hypnotic full-length, moon, at the tail-end of 2015, its dozen tracks blurring the lines between glacial ambience and plaintive singer-songwriter stylings while precluding the lengthy silence that would follow.

last week, fricke quietly released BODY, a six-song collection of new material that functions as a cursory addendum to its predecessor with plenty of wonderful nuances to unpack.  the extended play’s front half is a familiar palette, its slowly-evolving soundscapes providing the foundation for fricke’s haunting vocal exercises.  “intro” is a sustained prelude, its twilight field recordings melding into intimate, ambient chamber music.  the strings’ hesitation becomes more pronounced as the track reaches its conclusion, anticipating the blizzard of white noise that blankets “everything,” fricke’s voice finally emerging from the fray and embarking on a tenuous expedition with a small group of synthesizers in tow.

danielle fricke.jpg

at the approximate center of BODY lies “enough,” a quintessential danielle fricke offering that is also the extended play’s lone moment of sustained clarity.  nearly seven minutes long, “enough” finds fricke’s voice unobstructed as she makes her plea against a backdrop of guitar arpeggios, a pairing that was her hallmark across moon.  squalls of distortion percolate to the surface in the song’s final minutes, aiding fricke in her farewell as she journeys on to the collection’s last three tracks.

“cold, blue, even” and “SRGNG” are such marked sonic departures for fricke, each in their own singular way.  the former is through-composed, picking up on the vestiges of “enough” and enduring two minutes of subterranean synth quakes before discovering a piano chord progression replete with wordless vocal motifs; the latter is a glitchy choral exercise, pitch-shifted vocal loops stuttering and restarting while low reeds pulse in the background.  taken together with the extended play’s brief coda, the final ten minutes of BODY go a long way to cement fricke’s experimental bona fides and to reward active listeners with layer upon layer of nuance.

just six songs in length, devotees of fricke’s signature brand of hushed, exploratory world-building would be remiss to hope that BODY is anything but a stop-gap, and that more music is on the way.  in the meantime, stream the extended play in its entirety – preferably with headphones – below.

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