As a composer of electronic and electroacoustic music, Davachi engages in practices of analog and modular synthesis, multi-channel sound diffusion in alternative spaces, and psychoacoustic manipulations. Influenced by the lush, electronic tapestries of experimentalist-era synthesist pioneers, her music often exudes the sorts of wandering transformations inherent in real-time performance with analog equipment. Her treatment of acoustic sources – particularly organs, woodwinds, and strings – often involves heavy processing so as to defamiliarize timbres. Davachi's music suggests the experience of slowed-down sonic dwelling; utilizing extended durations and drones, dense and spectrally-rich timbres, and gradual shifts in non-directional harmonic materials that mediate between consonance and dissonance in order to approach distanced and altered landscapes.

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