The Irish Times - Friday - The Ticket - - NEWS -

In what ap­pears to be a highly stylised pro­nun­ci­a­tion of Karen, the com­poser and vo­cal­ist KÁRYYN will ini­tially have you at a loss as to how to say her name and will then swiftly leave you speech­less with her lay­ered and am­bi­ent mu­sic.

Based in Los Angeles, the Syr­i­anAr­me­nian-Amer­i­can’s mu­sic is min­i­mal, but with its over­lap­ping vo­cals, gen­tle orb­ing synths and rigid elec­tronic in­ter­fer­ence, it makes for an all-en­velop­ing ex­pe­ri­ence. She trips up over the set rules of mu­sic, and takes us to a place that feels like a dif­fer­ent di­men­sion. Oh, yes. We’re go­ing in­ter­ga­lac­tic with this one.

Also, Björk in­cludes the com­po­si­tion KÁRYYN did on the Of Light opera (co-writ­ten by Sa­man­tha Shay, who is un­der the men­tor­ship of Ser­bian per­for­mance artist Ma­rina Abramovic, no less) as one of her in­spi­ra­tions from 2017. If Björk is in­spired by your work, then you’ve ab­so­lutely nailed it. In 2017, she re­leased the sin­gles

Aleppo, Pur­ga­tory (both from her Quanta se­ries) and Mov­ing Masses, from Of Light, through her own la­bel An­tevasin (a San­skrit word that trans­lates to “one who lives at the bor­der”). With a prom­ise of new ma­te­rial to sur­face this year, it’s time to get ac­quainted with her work.

Aleppo cap­tures her child­hood mem­o­ries of vis­it­ing rel­a­tives in Syria, and she laments the city she once knew so well, contrasting it with the one now crum­bling down.

The var­i­ous crunches and blips that you hear over her frag­ile voices are in­tended to echo the destruction we see played out on the news.

The pin­ing, del­i­cate strums of

Bi­nary feel iso­lated, and con­jure up the quest for a soul­mate be­tween the ones and the ze­ros, which should feel dystopian, but, when we’re look­ing to be paired up and matched on­line – to find love in the abyss – Bi­nary is our hol­low reality.

Sup­ping from the same cup as FKA Twigs and Zola Je­sus, KÁRYYN’s mu­sic en­snares your brain and jolts your senses. It’s an im­mer­sive ex­pe­ri­ence and her sounds leave a barely there but al­to­gether heavy im­print on your brain.

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