Patricia Brennan
Maquishti
Boomkat Product Review:
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
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Boomkat Product Review:
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
Boomkat Product Review:
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
Boomkat Product Review:
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
Back in stock - Gatefold LP with obi-strip.
Out of Stock
Boomkat Product Review:
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
Out of Stock
Boomkat Product Review:
Mesmerising solo debut of works for mallet percussion from Brooklyn’s Patricia Brennan, crossing our paths for first time and recalling very classy works from CC Hennix to Miles Davis, Terry Plumeri and Michael Ranta
You can colour us enchanted with ‘Maquishti’, which introduces the Mexican born, NYC-based vibraphonist, marimbist, improvisor and composer Brennan with a deliciously low-key, furtive hush that’s totally snagged our attentions. Stepping forth from her previous experience, performing with everyone from Meredith Monk to Mary Halvorsen and Marcus Gilmore, here she employs a fine range of melodious thunks in lissom, playfully inquisitive style that’s both trance-inducing and edged with a fluidly sublime, but unresolved tension in her unfurling lines of extended melodic thought.
Brennan is patently adept at articulating her own sonic language, which makes it kinda surprising that this is only her first solo record, but we can only hope it’s the first of many, as she appears keen to experiment with the limits of her technique with a golden sense of patience and discipline that really shows on ‘Maquishti’, from her extra subtle use of pitch-bending and bowing, to her ability to lure us into the most curious harmonic spaces, without ever feeling hurried or demanding.
A real pleasure, this.
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