Seven Fields of Aphelion

THE SEVEN FIELDS OF APHELION may be a member of BLACK MOTH SUPER RAINBOW, but with her debut solo outing Periphery, she’s left the tweaked dance floor glitches in the black forest, and wandered into a hazy sun-dappled meadow. Swirling vintage synthesizers and piano dwell amongst the grasses, flowers and ruins of abandoned factories in this forgotten place. Over twelve tracks, Periphery acts as a travelogue through otherworldly, yet somehow soothingly familiar sonic landscapes. Synth layers grow slowly and organically into swells of pulsating tone so palpable, you’d swear that they are breathing. Haunting piano lines effortlessly dart their way in and out of the mire, like a group of pilot fish fearlessly zipping around a Great White. But there is also a very real and warm emotion in this music. Periphery plays like a shoebox of curling yellowed photographs, lost in an attic somewhere that has only recently been unburied and rediscovered, giving faded-color evidence to half-recalled memories.