Not many EPs open as atmospherically as Selkie’s inWaves, and for this reason I couldn’t wait to review it. I am captivated by the way it unfolds and envelopes you in sound – I have a feeling I’ll have it on repeat for weeks.
The record is expansive; Kristina Cox, otherwise known as Selkie, describes it as “unhurried,” which summarises it perfectly. It feels open, free and unconfined by traditional conventions like structure or rhythm. Without a clear beat, I am reminded of a vast stretch of never-ending sea, such as in ‘Swimming.’ When the beat does enter, it is like a ticking clock, or a fast pounding heartbeat, creating a sense of urgency. I can’t help but think that the music would fit perfectly in a film.
I love the incorporation of nature; coming from a small Island surrounded by sea, I am particularly drawn to the sounds of waves. The fact that these are field recordings makes them even more impactful – she has literally brought nature into her music. Not only does she use actual sounds of the sea, but her use of certain instruments also brings it to mind, such as the rising and falling scale in ‘Dream Wheels,’ reminding me of the constant swell of waves in the ocean. The whole EP feels like a celebration of nature – something we should certainly emphasise at the moment. You can hear how the stunning nature of Scotland (where Kristina is from) influences her writing, and her audible Scottish accent is captivating. It’s the perfect record if you need some stillness and peace amidst the chaos of the world.
I’m intrigued by how she mixes nature with electronic sounds, such as a glitching effect – the echoey, muffled, blurry sound paints imagery of outer space or the depths of the ocean. I also love the way she uses her voice like an instrument, manipulating it with different effects and using her entire range, from gentle, delicate and whispering to powerful and urgent. It sounds like she is using traditional folk techniques too – again, the convergence of this with modern electronic techniques works well.
The EP must be listened to through headphones! The sound moves from one ear to the other, creating a fully immersive experience. Every note is intentional, and the songs are intricately woven together, making many, many listens consistently interesting. She experiments with different sounds, like the deep, rich, sonorous ones in ‘Heartspeak’ alongside high-pitched noises that seem to mimic birdsong. ‘Lick the Sun’ uses a fascinating beat, which folds and unfolds on itself. It is constantly altering and unpredictable, creating the effect that it is alive and organic, rather than strict and robotic. My favourite track is ‘Gold’ – it is unfathomably gentle and demonstrates just how effective ‘less is more’ can be. I’m entranced by the electric guitar used in such a delicate way; time stands still, and it gives me goosebumps.
This is one of the most exciting and unique new EP’s I’ve heard in a while, and I’m in awe of Selkie’s ability to organise sound in such a way that channels stillness and flow all at once. In fact, I would be particularly intrigued to experience her music live and to discover how she creates this fascinating soundscape on the stage.
Written by Macy Tyrer
