paper dollhouse: aeonflower

An exploration of warped, dream-like atmosphere and taught, noise-ingrained electronics, PAPER DOLLHOUSE has evolved from the solo work of ASTRUD STEEHOUDER into an expansive, cinematic project now involving visual artist NINA BOSNIC. Recorded with a stronger focus on electronic processes and with a deeper, light-starved aesthetic, Aeonflower’s emboldened use of crushed-noise dynamics takes the London-based group’s debut A Box Painted Black (2011, Bird/Finders Keepers) frame into darker, murkier and more thrilling territory. Aeonflower is the slow decent of a newly-discorporated spirit into a fogged, neon-lagoon, a drowned world still-lit. If the first LP was a box of raw secrets with hints of obscured folk roots, Aeonflower is the endless rain of expression, experience and change. On this outing both artists’ vocals are expressive, forgoing complex lyrical concerns for minimal text invested with emotive power. Opener "Oracle" bleeds into Stand, the first of Steehouder’s haunted vocals, a fragile minimalism augmented with barren guitar. "Helios" sees a drum-machine kick + ride cymbal pin down an dark, enveloping vocal duet until "Psyche" obliterates it all with billowing noise, a thrilling shock to the system. The swirling synths and suppressed emotion of "Your Heart" peak in the centerpiece "Diane," a shadowy piece highlighting Steehouder’s minimalist approach. Side 2 acts as a mini-suite, with Diamanda Galas-inspired vocal abstractions and walls of sound coming down with stand out ambient track "Black Flowers." Dark and light interplay beautifully on album closer "Siren," a turbulent if ambiguous build-up of harmony and noise. A cinematic portrayal of an internal hinterland, Aeonflower is a complete, encompassing world. "Sterling dark pop and stark ambient noise somewhere between Grouper and Vatican Shadow. Edition of 500 with tracing paper insert and download code