Janet Records, in association with Headphone Dust and Die Stadt

Fovea Hex    The Salt Garden I

Cat No HDFHCD25 / DS116 (a)

Release Date - March 9 2016

Ltd Edition - 10" vinyl + CD + bonus Steven Wilson remix CD
Standard Editions - 10" vinyl + CD / CD / DL

The new EP from Fovea Hex THE SALT GARDEN 1 will be released on March 9 on Steven Wilson's Headphone Dust label - its first release by an artist other than Steven himself. Steven has long been a fan of Fovea Hex, who also count David Lynch, Brian Eno and Underworld amongst their admirers.

The Salt Garden 1 is the first in a series of 3 EPs released by Headphone Dust in conjunction with German avant-garde label Die Stadt, and features four tracks. Issued as a limited edition 10 inch vinyl + CD, the first 500 copies ALSO include a CD of a Steven Wilson remix of the final track "Solace" (this remix edition has SOLD OUT in advance via Steven Wilson's mail order).

The core ensemble of Clodagh Simonds, Michael Begg, Colin Potter, Laura Sheeran, Cora Venus Lunny and Kate Ellis is joined by special guests Brian Eno and Justin Grounds.

Having first emerged at the tender age of 15 as the main writer behind 70s cult Irish psych-folk band Mellow Candle, and with sessions for both Thin Lizzy and Mike Oldfield under her belt by the age of 21, Irish singer Clodagh Simonds relocated to New York and subsequently "went quiet" for almost two decades, before re-emerging in 2005 with Fovea Hex, supported by an extraordinary assembly of friends and colleagues, including Brian Eno, Robert Fripp, Carter Burwell, Donal Lunny, Roger Doyle, and Steven Wilson. Their first trilogy of eps, NEITHER SPEAK NOR REMAIN SILENT, was, upon its release, greeted by a growing momentum of critical acclaim. Their nascent cult reputation was further affirmed by a personal invitation from David Lynch to perform live in Paris at the Cartier Foundation in Paris as part of his THE AIR IS ON FIRE exhibition. In 2008 a full length album, HERE IS WHERE WE USED TO SING, was released, to yet more glowing reviews. The album made several end-of-year lists and was awarded album of the year in periodicals in the UK, North America and Italy.

The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.

As Drew Daniels of Matmos observed "The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern."

"One of the most hauntingly lovely discoveries of this or any other century thus far" (Neil Cooper, The List)

"If Emily Dickinson had ever been allowed to make a record, this is probably what it would have sounded like" (The Wire)

Main     Order     E-mail