“A sense of otherworldly is paired with the familiar, the macabre with the sensual.” – Definitely.
If there is a state of sonic lucid dream, Félicia Atkinson could serve as a guide to its realms. Electronic pioneers like Delia Derbyshire might have opened that door, but Atkinson’s carefully crafted and deeply immersive minimal soundscapes, woven through ASMR spoken word snippets, invite you to step further in. Contrary to being detached from reality, this ambitious recording is a triumph in synthesis and interconnectivity, honoring its title. A sense of otherworldly is paired with the familiar, the macabre with the sensual. Dreams and reality go fluidly and fittingly together, as contemporary midi textures with historical Buchla or Serge accents.
Atkinson recorded Hand In Hand at home in Brittany and at EMS Studio in Stockholm. Her readings of desert and architectural magazines, botanical guides and sci-fi novels flow seamlessly into the album, along with her other contemporary artistic practices.
Most immediately influenced by Derbyshire’s aesthetics, especially The Dreams, Hand…
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There is a warm solemnity to Pools of Light, like participating in a communal prayer, where hopes are a dream to ward off death, an ultimate end that is nonetheless a welcome fact of life. Inasmuch, at least, as it is the thought of ceasing to be what brings us all together – in the liner notes, Jessica Moss beautifully exclaims “FEELING LOVE IN A MELTING WORLD”. Just like her work as part of the apocalyptically-inclined A Silver Mt. Zion, this album is an interplay of hope for the hopeless and hopelessness for the hopeful, an emotional process in which the sharing of an all-encompassing pain is the relief that provides a basis to keep dreaming, to integrally act in the name of a truthful empathy that wants not to deny suffering but to heal it in communion.
Feminatronic 
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