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photo by Chloe Jarnac

Sage Fisher, who records as Dolphin Midwives, uses loops of harp and electronic sounds, and sometimes (though not on this track) her voice, to construct tracks that evolve from ambient Minimalism to something considerably more volatile.

-The New York Times

tingles the upper registers of human hearing: she plays the highest notes of her harp, processing and fracturing the results in search of an effect that she likens to how it feels to experience trauma. Dolphin Midwives are unabashedly new age – right down to the purposefully “gross” name

-The Guardian


Recursive, minimal harp melodies give structure to Fisher’s new album, Liminal Garden, but don’t define it; in intricate production, layers of electronic distortion mount a near-constant attack on the music’s more acoustic components. The result is starkly beautiful, with cracked electroacoustic reconfigurations of the harp at the center of it all.


Fisher has a remarkably strong intuition for nuance and clarity, subtly embellishing the piece's simple motif with unpredictable disruptions and fitful glimpses of a glimmering descending harp melody.


Liminal Garden straddles psychedelic etherealism like the futuristic left field side of Björk yet untapped. The record is infused with Asian stringed melodies and electronic effect abstractions – all deeply steeped in sweet (dare I say) effeminate rhythm and the unexpected.


It’s one of the most confident documents we’ve heard in quite some time, courageously embracing the artist’s vision, ironically pleasing without seeking to please.  Looking at all the butterflies ~ or more accurately, pieces of butterflies ~ on the cover, one sees a visual representation of the theme.


Fisher "explores themes of empathy, natural cycles, vulnerability, transformation and technology" ...{it} works because of Fisher's crystal-clear voice and compositional ingenuity....

The edits will grab your attention repeatedly and the electronic treatments are somehow both jarring and soothing at the same time.