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The WireDec 11, 2017O’Dwyer’s explorations of forgotten spaces, ways of listening and acoustic phenomena are as rich as ever, this haunted collection of subterranean sounds revealing even greater depths to her sprawling, strange work. [Nov 2017, p.61]
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Nov 28, 2017A potent mix of performance art, avant-garde tactics and imagined folk practices, O’Dwyer’s music feels adventurous yet also personal, as if she is examining not her own self but her body and its (temporary) presence in space.
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MojoNov 28, 2017Heartrendingly eerie. [Jan 2018, p.91]
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Nov 28, 2017Gallarais is a quiet album, but a deeply unsettling one.
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Nov 28, 2017Oftentimes, Gallarais is resistant to shape, with collages like “Grottovox” and “Beansidhe” balancing the reveberations of airplanes gliding above with earthy drum sounds and even echoes that seem to emerge from within the depths of the tunnel. These sections are balanced out by tracks like “Underlight” and “Mouthtoum” that demonstrate O’Dwyer’s effortlessly sorrowful approach to flute and harp, providing a musical grounding that still feels as improvised and as accidental as any of the less-controlled tones
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Nov 28, 2017At its best, the album embodies the curiosity of revisiting audio or video recordings, scanning for oddities which could possibly be the etchings of spirits crossing the veil between worlds. At its worst, Gallarais fools you into thinking its divination has lasting credibility.