Katherine Christie Evans works alone but thinks big. The Romford born, queer, nonbinary producer and sound engineer writes, sings, records and mixes everything herself, pulling ideas from Medieval and Renaissance music, IDM, shoegaze and alt rock. “Lucente Stella” might be her clearest statement of that mix so far, a love song pulled out of a 15th century Italian manuscript and dropped into a wired, modern frame.
The vocal is the anchor. Evans treats the original melody with care, letting it move in long, agile lines that feel closer to early sacred music than to anything on current playlists. Underneath, the track does something stranger. Analogue style drums tick away with a stiff, almost Kraftwerk feel, while distorted guitars and rough edged synths smear across the stereo field. Thunder cracks and low rumbles slip in at the edges, more like sound design than standard arrangement.
Nothing here feels polite. The voice sits right on top, dry enough that every shift in tone is exposed, while the electronics buzz and scrape around it. The contrast between the old text and the machinery underneath gives the song its pull, like a broadcast of a lost aria accidentally routed through a broken sci fi console.
“Lucente Stella” lands in a space between early music experiment and dark alt pop. For sync, it would sit well in fantasy or art house sci fi, title cards, ritual scenes, or any sequence that needs romance, unease and a sense of something ancient pressing through the noise.
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