Janet Records, in association with Headphone Dust and Die Stadt

Fovea Hex    The Salt Garden II

Cat No HDFH1026 / HDFHCD1026

Release Date - June 2017

Ltd Edition - 10" vinyl + CD + bonus remix CD
Standard Editions - 10" vinyl + CD / CD / DL


The new EP from Fovea Hex THE SALT GARDEN 2 will be released in June 2017 on Steven Wilson's Headphone Dust label. Steven has long been a fan of Fovea Hex, who also count David Lynch, Brian Eno and Underworld amongst their admirers.

The Salt Garden 2 is the follow up to the critically lauded The Salt Garden 1, Brainwashed.com's Single of the Year 2016. Issued in 3 standard editions; 10 inch vinyl + CD, CD only, Digital Download. There will also be a limited edition release featuring a bonus remix CD by our special guest, the mysterious Serbian soundscape composer Abul Mogard.

The core ensemble of Clodagh Simonds, Michael Begg, Colin Potter, Laura Sheeran, Cora Venus Lunny and Kate Ellis is joined by special guests Brian Eno and Justin Grounds.


Brainwashed (Readers Poll Winner, Single of the Year, 2016)
"Another beautiful piece in a flawless catalog... The first installment of a new series of Fovea Hex EPs is reason enough for 2016 to exist"

A Closer Listen
"The group tends to fall off the radar every few years, only to resurface with a quiet vengeance... Fovea Hex makes music when it's good and ready, and now is the time."

Vital Weekly, Frans de Waard
"This music elevates to an entirely different atmosphere, not of this world. This is twenty-one minutes of heavenly bliss."

Heathen Harvest
"The Salt Garden I is a box of delicate mysteries with no resolutions, and it's all the better for it. As brief as it is beautiful, it leaves the listener simultaneously reeling with the emotions it draws forth, and awaiting further installments to come."

Igloo
"The superlatives left to describe this unique chamber ensemble are fast running out... It is always an unmitigated pleasure to enter this house and warm oneself by its smoldering sod fire."

Fovea Hex Background

Having first emerged at the tender age of 15 as the main writer behind 70s cult Irish psych-folk band Mellow Candle, and with sessions for both Thin Lizzy and Mike Oldfield under her belt by the age of 21, Irish singer Clodagh Simonds relocated to New York and subsequently "went quiet" for almost two decades, before reemerging in 2005 with Fovea Hex, supported by an extraordinary assembly of friends and colleagues, including Brian Eno, Robert Fripp, Carter Burwell, Donal Lunny, Roger Doyle, and Steven Wilson. Their first trilogy of eps, NEITHER SPEAK NOR REMAIN SILENT, was, upon its release, greeted by a growing momentum of critical acclaim. Their nascent cult reputation was further affirmed by a personal invitation from David Lynch to perform live in Paris at the Cartier Foundation in Paris as part of his THE AIR IS ON FIRE exhibition. In 2008 a full length album, HERE IS WHERE WE USED TO SING, was released, to yet more glowing reviews. The album made several end-of-year lists and was awarded album of the year in periodicals in the UK, North America and Italy.

The frequently claimed "impossible to categorise" tag applies well to Fovea Hex. The songs are dominated by a voice that's too strong to be deigned ethereal, but remains too otherworldly to file alongside more conventional female singer-songwriters. The pace tends to be languid, the arrangements intricate and fragile. Comparisons have been made to This Mortal Coil, Emily Dickinson, Nico, Dead Can Dance, and even Schubert, but really this music is quite unique, a mix of electronic and acoustic sounds from a palette which ranges from state-of-art to ancient and arcane.

As Drew Daniels of Matmos observed "The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song-spells that are untimely in the best possible sense; their intimacy and raw emotional power feel centuries old, but the experimental sound-design can be shockingly modern."

"One of the most hauntingly lovely discoveries of this or any other century thus far" (Neil Cooper, The List)

"If Emily Dickinson had ever been allowed to make a record, this is probably what it would have sounded like" (The Wire)


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