The Seven Fields of Aphelion

Periphery (Graveface)

By Anne C. Johnson
Published: March 16th, 2010 | 7:00am

The name Seven Fields of Aphelion may sound familiar to you – it’s the solo project launched by Maux Boyle who uses the moniker when performing in her other band, Black Moth Super Rainbow. Periphery is Boyle’s debut breakout album and features a collection of twelve songs that Boyle has been working on for the last five years.

During her tenure in BMSR, Boyle developed a liking of older, analog synths and used them in recording Periphery. The result is an album that is ambient in the strictest sense of the genre and recalls the work of composers Harold Budd and Brian Eno.

Just as drums are the backbone of BMSR, Boyle’s piano is the foundation of Periphery. The instrument echoes almost entirely throughout the album and, while lovely and haunting on several tracks, is relied upon too heavily it seems. When Boyle enriches the sound with synths, as she does at the onset with “Slow Subtraction,” the album is mostly affecting and fascinating — and especially poignantly on “Saturation: Arrhythmia” and “Fever Sleep.” Later, as the final track, “Starlight Aquatic,” fades out unassumingly, it leaves the plot open for a sequel…or may just be Boyle modestly retreating from the spotlight. Although Periphery may require listeners who are unfamiliar with the ambient genre a number of repeat listens to appreciate her sometimes maddeningly subtle hand, it just may be worth it.

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The Seven Fields of Aphelion official site

The Seven Fields of Aphelion MySpace

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