Gave in Rest Image
Metascore
85

Universal acclaim - based on 10 Critics What's this?

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  • Summary: The second release in 2018 for the Canadian artist was inspired by her European tour and features contributions from Thierry Amar, Terri Hron, Lisa McGee, and Jessica Moss.
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Score distribution:
  1. Positive: 10 out of 10
  2. Mixed: 0 out of 10
  3. Negative: 0 out of 10
  1. Uncut
    Sep 20, 2018
    90
    Her interest in medieval and early music offers her compositions both a somnolent beauty and a melancholy grasp of simple, slow melody that's refined and tender. ... They're stunning. [Nov 2018, p.27]
  2. Sep 25, 2018
    82
    The slow-motion throbs of Davachi's warm, uncluttered electronic pieces achieve something intensely serene. On her new album, Gave In Rest, the music occupies the peaceful spaces she found lying between religious and secular realms.
  3. 80
    This is an album that has developed from careful study of, and attention to, how sacred music could define time and enrapture the spirit in past ages; and how it still offers up its potential to a twenty-first century sensibility when treated with technology and with reverential respect.
  4. Sep 18, 2018
    80
    Far from being just a gifted synthesiser experimenter, then, Sarah Davachi is increasingly establishing herself as a multi-faceted explorer of the many liminal terrains of minimalist music. Gave in Rest is a work of disarmingly simple, yet often extremely profound, beauty.
  5. Sep 20, 2018
    80
    Unlike much ambient music, Gave in Rest isn’t made for background listening. In fact, only with volume can you fully appreciate the depth of Davachi’s creation.
  6. Mojo
    Oct 3, 2018
    80
    Gave In Rest is melancholy yet beautiful, slow spectral low-end devotional music: creating a complete world that calls for total immersion. [Nov 2018, p.91]
  7. Sep 18, 2018
    77
    “Auster” remains, despite the pauses, a minimalist study of harmony and tone color, and the gorgeous “Third Hour” is languid and drifting. But there’s also more motion here than we’ve heard in her work before.

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