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Motion Sickness Of Time Travel, the project
Georgia's super-prolific drone-maker Rachel Evans, crafted
shimmering, ethereal electronic compositions on her frequent recordings:
A Forest Aching Cold (2009), whose eight-minute
A Forest Aching Cold evolves via minimalist repetition from gloomy
rumble to radiant fractal-like bubbling,
the four-song EP Red Tide (2010),
the three-song EP The Sound Of Reality Dissolving (2010), with the
melancholic accordion-like circular adagio of It Is Unfortunate But True
and the undulating and fading What Falls From The Sky,
Seeping Through The Veil Of The Unconscious (Digitalis, 2010), her first major
statement (notably the pulsing industrial
Telepathy, flooded with otherworldly voices and android hisses,
Magnetism, a synth vignette a` la
Tonto's Expanding Head Band drifting into sidereal abysses,
the naive wordless singsong The Alchemical Dream over dirty beats and
natural sounds,
and Clairvoyance, a soft heartbeat, a tinkling leitmotiv
a` la Mike Oldfield's Tubular Bells
and the echo of distant breathing),
the 20-minute piece Existential Sphinx (2011),
Awakening (2010), containing the 20-minute 1984 Or The Secret Place and her seductive zenith Awakening (like Enya falling into a black hole),
Luminaries & Synastry (Digitalis, 2011), with the majestic and ghostly
The Walls Were Dripping With Stars, the supremely dilated nursery
rhyme in aquatic reverbs of Eight Nineteen, the dancing keyboards,
childish vocals and alien distortions of Late Day Sun Silhouettes,
the three-song EP Sistrum (2011),
White Candle (2011),
Dreamcatcher (2011),
Crystal Anniversary (2011), with the hysterical raga-like
Lotus Flower in a thick synth register,
etc.
Her vocals are either mixed inside the electronic sounds or float freely and
gently over them.
The problem (as usual with prolific artists) is that each release contains
a lot of unedited fluff, and even the pieces that work are generally stretched
too thin.
She also plays in
Quiet Evenings with her husband Grant Evans of Nova Scotian Arms.
Slow Architecture (2011) is a split cassette that contains eight
Motion Sickness Of Time Travel pieces.
Rachel Evans
streamlined her visions quite a bit for the four lengthy suites of the
double-disc
Motion Sickness Of Time Travel (Spectrum Spools, 2012), that sounds
like a much more conventional parade of electronic watercolors.
The 24-minute The Dream opens like
wavering aquatic ambient music in the vein of
Oneohtrix Point Never,
morphing into spiritual new-age music,
and begins to dance at eleven minutes turning
into an agonizing mantra.
The 25-minute The Center intones a symphonic crescendo
of videogame blips organized like
Terry Riley-ian dervishes.
They morph into pulsing alien signals mixed with a distant mermaid call
and then into the imitation of a field of crickets. At 14 minutes the piece
abruptly changes pace and shape, a slow gentle drift radiating the
sensual ethereal wailing of the singer.
Evans displays her skills at impressionistic soundpainting and
minimalist repetition.
A Marbled Youth (Old Frontiers, 2012) is a 21-minute cassette that
contains Cut Away, Rising and In Our Dreams.
Chinaberry (2012) is a six-song cassette.
The Perennials (Boomkat Editions, 2013) is a five-song EP.
The Cirque (2012) is a three-movement 19-minute suite.
Oust (Sic Sic, 2013) is a five-song cassette.
The escalating amount of releases corresponded to a diminishing quality of
the music.
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