on August 3, 2015
Photo by Julia Dretel

Photo by Julia Dretel

At first, Haley Fohr’s voice as Circuit Des Yeux (translating from French as “circuit eyes”) may seem digitally slowed down for dramatic effect. But it soon becomes apparent that she is a deep baritone, a rare lower register bringing to mind Nico or Icelandic contralto Hallbjörg Bjarnadóttir. She uses this unique attribute in strong operatic tones with vast instrumentation to create visceral sounds.

In recent years, Fohr has built upon meditative, experimental albums. She produced and toured past works Portrait and Overdue alone, and found herself fighting loud, inattentive rooms to be heard. Drowning in a sea of chatter as “a woman against the world with her guitar” inspired growth with her new release In Plain Speech. While she has not been a stranger to assisting other artists (Such as her work with Mind Over Mirrors), she has mostly been a solo entity, and has now armed herself by collaborating and performing with several progressive musicians out of Chicago, where she is now based.

She continues to stagger quiet spaces with fervor, using sing percussions, engaging synths, and prolonged guitar feedback. She now intricately incorporates Whitney Johnson on viola, and loops the flute of Kathleen Baird, as well as honing the inventiveness from members of Little Scream and Bitchin Bajas. While continuing with the artistic subject matter of feminism and isolation, she has surrounded herself with supporters, creating a positive force to share the message that Circuit Des Yeux sets out to deliver though sonic intensity. Pay attention. »

– Brandy Crowe

Circuit Des Yeux plays live (with Marisa Anderson) in Portland August 19 at Doug Fir

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