Originally from Belfast, Dublin-based multi-instrumentalist Rachael Boyd is blurring the contours of post-classical and experimental sound like few others. It’s a fact that is luminously on display on the musician and producer’s highly-anticipated debut, Weave. Having released a string of shorter releases over the years — as well as been the violinist with critically-acclaimed artists Joshua Burnside, Ciaran Lavery, Malojian and Overhead the Albatross — Boyd’s eclectic and intricately-woven craft is laid bare on her debut. Across twelve tracks, it’s the pure-cut distillation of a singular musical talent. While previous singles including 'Playing The Skyline' and 'Esoteric Path' doubled up as an impressive introduction, the full, genre-warping spectrum of Boyd's talents is confined within the 40 minutes of Weave. From the gossamer push-and-pull of its eponymous opener to 'Blind Spot’ — a masterfully textured suite conjuring Blackstar-era Bowie and Radiohead circa A Moon Shaped Pool — it effortlessly spans heart-stung post-classicism, folk-leaning experimentation and balmy, down-tempo brilliance. Filtering the era-leaping imprint of everyone from Nils Frahm and Apparat, to Baths and Debussy, Boyd emerges as a fiercely original voice on Weave. Tracks like 'Oseal', ‘HONEY’ and 'Kalimba Drone' don’t materialise via the spark of inspiration alone; they’re born from something more vital: heart, character and an innate knack for going beyond.