Hello, it’s me again, writing about another microtonal album. And yet it seems there might never be enough of those so that any release that fits under this label and that is of decent production value deserves to be talked about. Which brings us to Feeding Fingers‘ sixth studio album, Do Owe Harm. While the band’s earlier releases incorporated microtones in some form or another, it takes centre stage here. Through post-punk aesthetics intermingled with synthwave and experimental pop, Feeding Fingers shine a new light on xenharmony, and convincingly make use of different tuning systems, such as 15- or 22-EDO, Bohlen-Pierce, and Carlos’ ɑ, β, and γ tunings, showing a good grasp of microtonal music theory and practice. On that point, at no moment during the forty minutes that the album lasts is the choice of going beyond twelve-tone a distraction to the enjoyment of the music. The voice of this solo project effortlessly adapts to the unconventional intervals, and the harmonization of all instruments is just as interesting as it is beautiful. Do Owe Harm is one of the best microtonal pop works to date, sitting squarely besides Brendan Byrnes & Ilevens, Elaine Walker & Zia, and Sean Archibald & Sevish.
A digital promotional copy of the album was sent to us for review.
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