In October 2024, Haley Fohr, below her Circuit des Yeux moniker, launched “God Dick,” an amazing barrage of texture accompanied by lyrics invoking the phallic divine. Dissonant strings balloon, giving approach to colossal synthesizers, frantic programmed beats at 170 BPM, and, after all, Fohr’s flexile voice, notably capable of span 4 octaves. “God dick in my means,” she intones, darkly: “Horns rising, phallus dei.”
Such depth tends to gasoline all of Fohr’s work, which is commonly rooted within the deepest crevasses of the human situation. Her 2017 album, Reaching for Indigo, was borne out of a non secular awakening that left her “convulsing and vomiting.” Her earlier report, -io, was impressed by a grief-filled creative retreat. Even Fohr’s extra playful aspect venture, Jackie Lynn, couches character research in elaborate function play.
Fohr’s newest report as Circuit des Yeux, Halo on the Inside, is much less particular in its origins, gesturing as an alternative at a less complicated terror: change. She wrote the album alone, below the blanket of night time. It’s a lonely report about indiscernible metamorphosis, drawing on a extra closely digital palette than ever earlier than. It’s Circuit des Yeux by means of industrial dance music: sludgy, colossal, and teeming with darkness.
From the primary few seconds of opener “Megaloner,” Halo on the Inside is straight away much less involved with Fohr’s guitar and the orchestral preparations highlighted on -io. As a substitute, consideration is cut up between her haunting voice and a slew of synthesizers, all match for a sweaty, cement-walled basement. The percussion, which spans knuckles, storm drums, and drum machines, is deep and loud, rattling headphones and often thumping above the combo. It bores its means into your head, alchemizing from the within out.
Halo on the Inside additionally, refreshingly, speaks to the pop music of the previous. “Organ Mattress” incorporates a sly saxophone solo and a jungle of propulsive texture that, at occasions, appears like a extra anxious and gothic model of Peter Gabriel’s “Mercy Avenue.” The dungeon-core “Cover of Eden” may match on any ’90s Depeche Mode report, with Fohr’s operatic wails echoing behind a pulsing techno wub. It’s Circuit des Yeux’s personal wall of sound, girded by a mixture of emotion and grandeur.
Invoking the pop sounds of yore leads to a few of Fohr’s most accessible work but. “I could make a radio break,” she repeats on “Cover of Eden,” a phrase that serves as a double entendre: each a putting second of self-awareness and an allusion to the music destroying its vessel. Very similar to the metamorphosis she sings about, the album shifts to extra maximalist fare, switching the discordant orchestra for swelling electro-cacophony. And although it may not hit the terrestrial airwaves, it will go gangbusters on the blood rave in Blade.
Fohr’s lyrics typically perform much less as songs and extra as poems, renderings of tragic transformations and emotional crossroads. From a much less assured artist, her writing would possibly sound trite, however vocal experimentation is Fohr’s energy. The malleable and arresting supply on the album’s core pushes the music ahead, typically reinventing itself mid-song. “Fact is simply creativeness of the thoughts,” she repeats on “Fact,” spinning that easy phrase into layered webs by surrounding it with amorphous incantations. The report’s sixth monitor, “Cathexis,” is basically Fohr’s model of “Waking the Witch” by Kate Bush, the place whispers swirl round like blustering cliffside winds.
By the top of the report, the horror turns into all-consuming. Fohr’s songwriting has all the time contained touches of darkness, however that is the primary time the shadows have been so alien. As Halo on the Inside gestures at eldritch change, it neither soothes nor reveals the sunshine. It as an alternative turns into an enveloping cocoon of helplessness, with solely Fohr’s voice chopping by to function a information.
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