There’s a stillness at the heart of “Boy Made of Glass,” a piece that seems to breathe through its own uncertainty. Stephen Vitiello and Edwin Torres move through a landscape of fragile resonance, where creeping soundworlds cradle Torres’s words, alternately holding them in suspension and pressing close until the air feels charged. Samita Sinha’s presence, her one-string ektara bending, and her voice rising in whispered, wordless invocations, add a spectral filament to this evolving space. The balance between sound and voice is never fixed; it wavers, like light refracting through water, drawing us deeper into a realm where poetry and vibration blur their boundaries. In these works across Vitiello and Torres’s new album, Subliminal Infinities, language feels ancient and half-remembered. This is an artifact rediscovered in the folds of breath and decay, suggesting that even in the act of disintegration, a new form of listening is being born.
Subliminal Infinities is out on November 1 via Room 40. Pre-order HERE.
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