In contemplating the arc of Haley Fohr’s muse, it’s hard not to look upon the first femme-destroyer, untrained, but skulking around a number of skins on the floor. No I’m not thinking of Zola Jesus right now, though both Nika and Haley seem poised at the same starting line. Supposedly it’s about terms and those parameters have different meanings for both involved. Fohr tends to march to her own drummer more often than not, even if that means the discomfort of those who dare to listen. I’m thinking of Scout Niblett – who, while foraging around the same sub-Indiana terrain, found a voice completely empowering, tragic, and castrating. Even if the Die Stasi compilation provided a zero ground for female deconstruction – nary a guitar lesson in sight – Fohr has gone beyond that already and her body of work shows that progression. The latest addition to that repertoire is the De Stijl 7”, titled with a smirk, Ode to Fidelity. As Circuit des Yeux, Fohr still deals in frightening molasses dementia and death opera, but it’s so deliberate, she almost evolves (in Pokemon terms) before your eyes on “Barrel Down.” For a moment forgive all of the atonal/out-of-tune/dirt-black lamentations – think of it as an empty factory sighing. “Self-Satisfaction” lives in heaving synths, background moans and groan, with a flatline installed to heighten the mood. You could compare it to anything by Kim Gordon (sic) or Jandek, though it’s singularly Fohr’s bellow. “March With the Rich” is the guarantee – signaling that this is just the beginning of a tribal, Midwestern-dark-cult, awakening taking place inside the future musiques of Circuit des Yeux.
Still digging Sirenum hardcore.
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