Photo by Jessica Mazzoli

The more keyboard patches Lorna Krier imports into the indie-classical chamber quintet Victoire, the richer, deeper, and more mysterious their music grows. The group—consisting of Krier, composer Missy Mazzoli, bassist Eleonore Oppenheim, violinist Olivia DePrato, and clarinetist Eileen Mack—hasn't recorded actively for awhile; their debut full-length, Cathedral City, came out almost four years ago.

Their sophomore effort is officially on the way, and Krier's gorgeous ambient landscape of synths applied to "A Thousand Tongues", the first song from the project, is a taste of how far they might go. Victoire's music has always felt liminal, a thought on the verge of expressing itself, so when the vocalist enters three minutes to the "A Thousand Tongues", it feels like a minor revelation. The lyrics are full of miscommunications, silences, misconceptions.  The video footage, meanwhile, comes from clips of Mauricio Kagel's 1967 avant-garde film Solo, which Krier has cut up and reedited. It is a mute, strange, and potent accompaniment to the most striking and uncanny music Victoire have ever made.