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Unfortunately, a percentage of the audience felt the need to capture the performance, but didn’t think to turn off the flash of their camera phones, or worse didn’t care. The lighting show intensified the beautifully harrowing atmosphere - bright whites progressed to deep reds as the sounds unravelled. William became an extension of his equipment with robotic glitchy movements - a welcomed addition to his overall performance. The piece evoked tension and sorrow through drones, orchestral symphonies and the voice of a female operatic. Ambient waves of sound washed over the listening audience. Taking centre stage in a sparkly suit jacket and shoes, with hair tied back and framed by aviators, Basinski readied himself for a solo performance of his 2020 album Lamentations. Known for his obsession with reel-to-reel tape decks, loops and delay, Basinski has released a multitude of ambient and experimental works to great acclaim since the late ‘90s. On Thursday 9th of June in London, Baba Yaga's Hut showcased the American avante-garde composer William Basinski at The Barbican. “Feeling Bad Forsyth Street” shares a glimpse into a brief period in New York City where she was “trapped after trying to pay off a personal debt accrued at the racing track.” Sofie sets the scene: “I’ve lost my appetite I’ve messed up again, messed up big time and I don’t know how I’ve ended up in this state again but all I know is buckle up chin up tough it out because it’s me against me against the rest of the world baby.” The song is also accompanied by a video created by Sofie and cult filmmaker Eugene Kotylarenko (Spree, Wobble Palace), and stars actors Vishvam Velandy and Peter Vack, Curtis and KJ from the Ion Pack, model Dagsen Love and many others.

Blended with nostalgia for early aughts reality television and American mall punk subculture, Harlequin presents a montage of peculiar characters, vernacular settings and mysterious chronologies that are as theatrical as they are musical. Sofie Royer’s new album Harlequin (available September 23 on Stones Throw) showcases the Viennese-and former-Los Angeleno-musician’s passion for her native city’s opera and ballet traditions as well as the baroque lyricism of cabaret, medieval performances and the court jester.

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