i'm not going to take the time to listen to this carefully, but i can immediately hear what she's doing with the overtones, because i've done things like this myself, albeit more in a mathematical or additive synthesis context than in the context of trying to reconstruct sounds heard in a domed or otherwise reverberated space. to be clear: she seems to be trying to orchestrate the feedback by notating it. it's nerdy, but not disinteresting - or at least not disinteresting through headphones, at home.

this is the kind of show that i'd like to see places like trinosophes schedule a little earlier, especially on a friday, so that i could catch it before heading out somewhere else. 23:00 isn't super late or anything, and it might work as a pre-show for a dance party, but i'd rather hit a rock show before a dance party. you hit the culture, then the rock show and then the dance party. so, a 17:00-20:00 show actually makes more sense, allowing you to catch the rock show from 21:00-00:00 and then hit the dance party as late as you can find it.

and, from trinosophes' perspective, it makes more sense, too, because you can catch people right after eating - or even sell them something to eat.

i'm planning on staying in windsor on this night, so it doesn't fit my schedule. but, i kind of wish that it did.

there's not a lot here to actually listen to, but you're supposed to listen to it carefully, i take it. the idea is to listen to the notes rub against each other, both in ways that sound 'right' and in ways that sound 'wrong'. will you get much out of it beyond the curiosity of it? see, i have a bloc here in trying to explain this, because i have a math degree, and i compose in this style; chances are, neither of these things apply to you, and you're just going to hear some blurry slabs of ambient noise.

like i say - it's perhaps better listened to at home, or as a stop on the way to somewhere else, if you want to do it socially.

https://sarahdavachi.bandcamp.com/album/gave-in-rest