Kelly Moran composes and performs pieces for prepared piano, sometimes also using electronics to open up new possibilities within the melodic / percussive / textural depths of the instrument. With influence taken from both Steve Reich and Burzum, Bloodroot is an inventive and innovative listen. CD / LP release on the Telegraph Harp label.
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There seems to be very little information available about Kelly Moran, save that she is pianist, composer and electro-acoustic producer based in New York City. She also is apparently interested in the minimalists -- she did a lot of theory analysis in school on the work of Adams, Glass, Reich and others -- and compares their music to the Black Metal artists she’d been listening to. I can see it, of course; the tonalities, the steady pulsing rhythms and overlapping patterns common in both genres. Kelly even drafted in Colin Marston, a metal producer, to master this record.
Moran recorded Bloodroot on her trusty keyboards -- well OK, her prepared piano -- and sparse electronics. She timed all the overdubs to perfection. Tinny sounds of taut piano strings chime in unison with more bassy frequencies at the other end of the scale. Tonalities are often discordant and timbres shift constantly throughout the duration of this collection of short pieces. Kelly brings out an astonishing array of tone colours and resonances from her instrument. Once you adjust to the sounds, there is much to enjoy melodically as well as rhythmically from this record. The title track is very pretty indeed. Like Nils Frahm being dragged through a black hole.
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