A spark, a reminder
Maria Moles
A spark, a reminder
Boomkat Product Review:
Experimental percussionist Maria Moles follows last year's ace "For Leoanda" with 25 minutes of hypnotic synthesis and sparse, textured drumming.
A gorgeous addition to the rapidly growing Longform Editions catalog, 'A spark, a reminder' was Moles' opportunity to work on something drone-based and meditative without ignoring the percussive elements. She recalls that as she was developing it, the percussive moments would spark melodic concepts and vice versa, making her consider the state of flux and suspension that's in so much music she appreciates. So she let the piece divide itself naturally into three segments: the long, droning intro, the improvised central percussion section and the comparatively jazzy finale.
The result is a lengthy exploration of musical minimalism in three separate but interlocking forms. Moles' opening third is warbling analog drone that's worthy of comparison with Éliane Radigue or Kevin Drumm, but its central act is harder to place, sounding more like Valentina Mageletti's freeform solo exercises. It's the final third that brings everything together, establishing a skeletal library music groove with bass from Tim Harvey and expanding it in widescreen. Very good.
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Boomkat Product Review:
Experimental percussionist Maria Moles follows last year's ace "For Leoanda" with 25 minutes of hypnotic synthesis and sparse, textured drumming.
A gorgeous addition to the rapidly growing Longform Editions catalog, 'A spark, a reminder' was Moles' opportunity to work on something drone-based and meditative without ignoring the percussive elements. She recalls that as she was developing it, the percussive moments would spark melodic concepts and vice versa, making her consider the state of flux and suspension that's in so much music she appreciates. So she let the piece divide itself naturally into three segments: the long, droning intro, the improvised central percussion section and the comparatively jazzy finale.
The result is a lengthy exploration of musical minimalism in three separate but interlocking forms. Moles' opening third is warbling analog drone that's worthy of comparison with Éliane Radigue or Kevin Drumm, but its central act is harder to place, sounding more like Valentina Mageletti's freeform solo exercises. It's the final third that brings everything together, establishing a skeletal library music groove with bass from Tim Harvey and expanding it in widescreen. Very good.
Boomkat Product Review:
Experimental percussionist Maria Moles follows last year's ace "For Leoanda" with 25 minutes of hypnotic synthesis and sparse, textured drumming.
A gorgeous addition to the rapidly growing Longform Editions catalog, 'A spark, a reminder' was Moles' opportunity to work on something drone-based and meditative without ignoring the percussive elements. She recalls that as she was developing it, the percussive moments would spark melodic concepts and vice versa, making her consider the state of flux and suspension that's in so much music she appreciates. So she let the piece divide itself naturally into three segments: the long, droning intro, the improvised central percussion section and the comparatively jazzy finale.
The result is a lengthy exploration of musical minimalism in three separate but interlocking forms. Moles' opening third is warbling analog drone that's worthy of comparison with Éliane Radigue or Kevin Drumm, but its central act is harder to place, sounding more like Valentina Mageletti's freeform solo exercises. It's the final third that brings everything together, establishing a skeletal library music groove with bass from Tim Harvey and expanding it in widescreen. Very good.
Boomkat Product Review:
Experimental percussionist Maria Moles follows last year's ace "For Leoanda" with 25 minutes of hypnotic synthesis and sparse, textured drumming.
A gorgeous addition to the rapidly growing Longform Editions catalog, 'A spark, a reminder' was Moles' opportunity to work on something drone-based and meditative without ignoring the percussive elements. She recalls that as she was developing it, the percussive moments would spark melodic concepts and vice versa, making her consider the state of flux and suspension that's in so much music she appreciates. So she let the piece divide itself naturally into three segments: the long, droning intro, the improvised central percussion section and the comparatively jazzy finale.
The result is a lengthy exploration of musical minimalism in three separate but interlocking forms. Moles' opening third is warbling analog drone that's worthy of comparison with Éliane Radigue or Kevin Drumm, but its central act is harder to place, sounding more like Valentina Mageletti's freeform solo exercises. It's the final third that brings everything together, establishing a skeletal library music groove with bass from Tim Harvey and expanding it in widescreen. Very good.
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