Raspy hi-hats cut in, a sparse two-note piano melody plinks with hefty reverb before turning into something more horrorfully cyclical with more notes, creeping, inescapable. All the while, Isserley talks in aching absent monotone, quiet and breathy against the bass, effusing an ominous atmosphere. And then it hits: a moment of buzzing intensity saws through this, dense synths droning and crashing towards the end, the beat turning busier and rattling sharply like gunfire. The contrast between this heavy blast of brash sound and the small voice of the artist herself is stark, and enough to prove frankly mesmerising. Similarly it's an illustration of surface-level brooding calm and inner turmoil, stillness and the storm beneath.
- 🔔 Check out Isserley's 2016 album Messes, where you'll find tracks like the sludgy 'Daddy' and 'Deep Throat', which has a decidedly more industrial feel than 'Advent', with its ticking percussion, atonal synths crushed and grinding, simmering with its chopped and decaying vocal samples.
Aside from producing her own music, it turns out she's been utilising her sound for other projects. "I've been doing scoring for horror movies lately too," Isserley told YES/NO, "I'm scoring some of the new Silent Hill movie!"
- 🔔 Isserley is the second project of Roxxi Wallace, who is formerly of formerly existing duo, Girlflesh.
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