SOUND

British singer-songwriter Keeley Forsyth first took the stage in the milieu of the droll analogue synthesizer duo Eccentronic Research Council. On her solo works Debris and Photograph, she intertwines her uneasy trembling alto and buzzing synthesizers with spartan folk instrumentation. A harmonium wheezes a somber drone, the snare of a slightly out-of-tune steel-string guitar, sometimes a melody strummed on a violin smoulders high in the air – and then Forsyth sings with her craftfully overstrained voice of the ineffable interstitial realm between self-awareness and self-destructive delusion.

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