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1 review | 20 people love this record: be the 21st!

‘In Remembrance’ is a multimedia project by highly acclaimed, New York based contemporary artist Delia Gonzalez. Originally from Miami, Gonzalez comes from a background of guerilla dance and theatre groups and began working on collaborative, multimedia, multi-discipline projects with synth composer Gavin Russom after re-locating to New York in the mid nineties. For fans of Nils Frahm, Kiasmos, Hauschka and A Winged Victory For The Sullen.

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In Remembrance by Delia Gonzalez
1 review. Add your own review.
20 people love this record. Be the 21st!
7/10 Robin Staff review, 23 April 2015

Delia Gonzalez’s raw piano compositions are a far cry from your average neo-classical space-gazing. Nils Frahm ruminates on his keys -- he spends more time trying to see into their souls than he does press against them -- and Dustin O’Hallaran makes declarative statements with his chords, as if caught between nothingness and eureka. Delia Gonzalez, though, she rushes through her keys, combining the two ends of her piano as if they were a two-way sidewalk competing for space. It’s rare we hear such harshness and disorientation in music of this archetype, but ‘In Remembrance’ stands out.

Gonzalez is less interested in the potentiality for silence than her contemporaries, and ‘In Remembrance’ is better for it, forcing its dramatics constantly, fixating its dread upon the listener. “IV” combines subliminal string arrangements with a hardy chord sequence that comprises a haunting motif, then plunges again before you can recover. ”I” begins with ripples of piano that splinter off and envelop, constantly building and fading in motifs that further enfranchise the composition. It’s a hurried and unrelenting music that Gonzalez makes.

The remixes that make up the second half of the record divulge from Gonzalez’s more sparsely laid work, the first lurching with the kind of violently minded ambience laid by artists such as Kyle Bobby Dunn, and others subduing their instrumentation into a drowsier framework. It’s best hearing the originals, though, which sound more alive with ideas and distress than any solo piano record in recent memory.


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