Seven Fields of Aphelion

Maureen or 'maux' of Black Moth Super Rainbow. (www.thesevenfieldsofaphelion.com)

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 and palpable tone while piano lines effortlessly dart their way in and out of the mire, like a group of pilot fish fearlessly zipping around a Great White.

There is a very real and warm emotion in the music ofSeven Fields. The album 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. Its fragile, ambient soundscapes of piano and synthesizer reflect glimmers of forgotten feelings with each gentle inflection and shift in tone. Each of these wordless tales is an exercise in trying to bring back the stories behind those frozen-still images that were captured in front of the Super 8’s and Polaroids of lost times. Similarly, the album’s artwork, featuring multiple exposure photography from The Seven Fields of Aphelion, conjures up old thoughts and dusty emotions through a carefully applied lens.

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