ghost harmonic

Codex: debut Album
diana yukawa | john foxx | benge

Ghost Harmonic:  John Foxx, Diana Yukawa and Benge

Ghost Harmonic: John Foxx, Diana Yukawa and Benge

Ghost Harmonic are solo violinist Diana Yukawa, electronic pioneer John Foxx and his collaborator in John Foxx And The Maths - Benge.

They’ve been working at Benge’s MemeTune Studios in Shoreditch, London over the last couple of years to create the album Codex and the Ghost Harmonic sound - a combination of the purity of Diana Yukawa’s violin with the complexity and textured noise of analogue machinery.

The five tracks on Codex are all linked into one continuous piece of music – by turns elegant, dark and gently blissful. Some of the music recalls the overgrown cities of Delvaux and Ernst, especially ‘A Green Thought In A Green Shade’ and ‘The Pleasure Of Ruins’. ‘Dispersed Memory’ has a strange, alien atmosphere; the dreamlike languor and melting time of the opening music switching into something more isolated and chilling. ‘When We Came To This Shore’ is serene but eerie – like being pulled by the tides to a submerged city or underwater forest. ‘Codex’ closes the album with a sense of stillness and faded beauty.

As Benge puts it, ‘there is something very satisfying about combining Diana’s beautiful 17th Century violin with a subsonic tone-blast from a Moog Modular.’

‘It was fairly open,’ says John Foxx, ‘but I guess the underlying intention was we all wanted to see what might happen when a classically trained musician engaged with some of the possibilities a modern recording studio can offer – eg multi-tracking, vast notional spaces, long echoes, looping, retuning, layering, synthesisers, sound effects, vintage and cheap equipment etc. Also we wanted to improvise, since that seldom happens in the classical world. Bach wouldn’t take any student who couldn’t improvise over a given theme but things seem to have gone in reverse since then.

Diana was a welcome revelation after all that. She picked up themes immediately and took them off in all directions. Very exhilarating.’

This is music of pure ambience, offering a refreshing alternative to the busy city environment in which it was written. The three musicians take their lead from each other, making a record of easy consistent pleasure and intimacy.
— Ben Hogwood, Music OMH
this is a wonderfully absorbing album with moments that are both serene and harrowing.
— Mat Smith, This Is Not Retro