Girl Circles is the solo project of Fae Sirois, Montréal-based (Tio’tia:ke) multidisciplinary instrumentalist & artist who has been performing fairly consistently since founding the project in 2015. Although Förgjordninger is technically the first official release for the project, Sirois’ has a number of different projects under different aliases including Orchid Lodge and has performed with notable acts like Puce Mary, KNURL, Void Vision & JS Aurelius – all informing the dynamic and alarmingly exciting live set.
Fae uses primitive recording methods, utilizing field recordings, modular synthesis and her classically trained hand on the violin, a classical instrument in its origin is reimagined and the normative acoustic restrictions are dissolved. Layers of effects and manipulation, transforming the strings into a haunting, spectral presence transforming the emotional intimacy of the instrument in new sonic territory. Juxtaposed by her innate ability to produce haunting, at times wildly mutant-like textures through the use of modular synthesis. Wisely crafted and intricate harmonics adds a dissonance to her compositions, creating a sense of uneasy tension resulting in cathartic release. From baritonal chants, spoken word or confrontational screaming, Girl Circle’s live performances are augmented by her vocal arrangements which are regrettably not featured on the album. At times there is a sexual energy paired with erotic themes that manifests in the intense, visceral sounds that I believe can evoke sensations of desire and discomfort that can mirror the complexities of gender identity. Through both power and vulnerability the artist’s personal journey and the liberation of embracing one’s true self is crucial context to the performances.
Förgjordninger is a raw and deeply immersive work that pushes the boundaries of genre and form. It’s an exploration of the tension between beauty and brutality, a sonic journey that effortlessly blends together noise and power electronics elements, dark ambient, and neo-folk influences picking up the pieces that Coil and their legacy left off – whom Sirios’ draws influences heavily from. The work traverses the realms of ritualistic ambient, abrasive industrial noise, and atmospheric soundscapes. As aforementioned, since her emergence she has become known for her visceral and jarring live performances; where she merges auditory intensity with ritual elements, blending the sacred and profane in a truly unique way. Through her craft, Sirios invites listeners into a world that challenges both the limits of sound and identity, offering an immersive experience that is as emotionally complex as it is strikingly aggressive.
The title is a reference to Tilhagen’s work on folk medicine and curses. He classifies a group of curses as Förgjordninger, loosely translated to annihilations. The curses are often meant to attack vital parts of the individual like parts of the body or their life force and often involve acts and ingredients such as coffin nails, grave dirt and human bones. The word “Förgjordninger” appears to be a constructed or archaic word, likely drawing from Scandinavian languages, particularly Norwegian or Danish. While it isn’t a direct, modern word in either language, it seems to evoke themes of transformation, ritual, and possibly the passage of time. The word “gjørninger” could be related to “gjøren” or “gjørelse” (Norwegian), which are related to “doing” or “actions,” often implying transformation or processes. The prefix “førr” may suggest an older or poetic form of “for-“, which means “before” or “for” in Scandinavian languages. Together, Förgjordninger could be interpreted as something like “before transformations” or “acts of becoming,” tying into the album’s themes of change and personal evolution.
Given the context of the album — which delves into themes of self-reinvention, ritual, and transformation — the word evokes a sense of prior or pre-transformation, referencing the processes or rituals that precede a change. It’s a fitting title for an album centered around personal metamorphosis and identity
“Coiled Around The Roots” begins in a discordant dream-like space, dropping an ethereal yet sulfuric drone creating a pulsating momentum, a dark mélange of bold low-frequencies that penetrate high-end shrieks; rotten dronescapes. A continuous oscillation that swells through anxiety-invoking movements, pinging filters and dripping wet resonances. Familiar with Sirios’ practice, the guttural the resonant harmonies of her throat singing are being processed through simple contact mics. The voice becomes an instrument, inserting abstract fluctuations creating another layer of disorientation. Percussive stabs of filtered and enveloped white noise intertwines with processed field recordings that spread throughout the stereo field providing a special depth. The second and middle track, “Annihilations” is a very unique example of her technique abilities contrasted by a very unique and creative mind. The absence of sound plays an important role in showcasing the possibilities of the instrument. The delicate bowing and plucking, once familiar, now feel like ghostly echoes. The juxtaposition of the violin’s fragile tones against the more abrasive sounds surrounding the piece creates an even more visceral experience — one that both disturbs and captivates. The final track “Spread Cows Blood Upon The Hill” is reminiscent of the opening track – though far more focused around the ambient aspects of processed field recordings. While it stands in its own lane, this track could be compared to contemporary projects in the Hospital Productions camp, such as Lussuria and Prurient. Sirois’ command of synthesis enhances the album’s sense of space, introducing moments of almost hypnotic, ambience before crashing into loud, jarring noise passages. The contrasts between calm and chaos are deliberate, giving Førrgjørninger an unpredictable Sirois’ mastery in sculpting atmospheres that are both suffocating and expansive, a testament to her skill in creating emotive sound.
Conceptually the album leans into the realm of the personal and the metaphysical, offering fragmented glimpses into themes of transformation, loss, and renewal — elements that echo the artist’s own journey as a trans woman. It’s clear that Förgjordninger isn’t just an album; it’s an experience that immerses the listener in a world that is both unfamiliar and profoundly human. The live-performance energy of Sirois is palpable throughout the album. Her ability to move between deeply atmospheric, almost sacred soundscapes, to moments of explosive, industrial harshness mirrors the unpredictability and intensity of her performances. Förgjordninger demands attention — not just as a listening experience, but as a visceral act of communion with sound. Förgjordninger is a challenging piece of work that masterfully blends various elements into something uniquely Sirois. Both abrasive and beautiful, striking a balance between erratic harshness and fragile melody. For those who are fond of work that doesn’t shy away from discomfort, this album is a bold, immersive work of art that deserves to be felt as much as it is heard.
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