Tracklist:

A1. Prologo
A2. Possente Spirto
B1. The Crier’s Choir
B2. Trio For A Ground
C1. Res Sub Rosa
C2. Constants
D1. Night Horns

The compositions on this album, written between 2022 and 2024, form a conceptual suite and an observance of
the mental dances that we construct to understand acts of passage; the ways that we commune and memorialize
and carry symbols back into the world beyond representation. To this end, The Head as Form’d in the Crier’s
Choir engages two references to the ancient Greek myth of Orpheus: Rilke’s Sonnets to Orpheus, a collection of
poems from 1922, and Monteverdi’s l’Orfeo, an early baroque opera from 1607. The Head as Form’d in the Crier’s
Choir follows on from the last two albums, which were attempts to begin bridging the gap between the fixed
electroacoustic pieces that emerge in Davachi’s home studio and her slow-paced, somewhat open-form chamber
writing, in which each performance presents a new structure and in which each iteration offers the path to a new
composition and deeper meaning.

Alongside Davachi, featured musicians on this album are Andrew McIntosh (viola, Los Angeles), Mattie Barbier
(trombone, Los Angeles), Lisa McGee (mezzo-soprano, Los Angeles), Pierre-Yves Martel (viola da gamba,
Montréal), Eyvind Kang (viola d’amore, Los Angeles), and Rebecca Lane (bass flute, Berlin), Sam Dunscombe (bass
clarinet, Berlin), Michiko Ogawa (bass clarinet, Berlin), M.O. Abbott (trombone, Berlin), and Weston Olencki
(trombone, Berlin) of the Harmonic Space Orchestra (Winds).