Moves in the Field
Kelly Moran
Moves in the Field
Boomkat Product Review:
A leading pianist of her time - sought out by 0PN and FKA Twigs among others - Kelly Moran presents album #2 for Warp, weft with complex melodies keyed on a Yamaha Disklavier.
Six years since ‘Ultraviolet’, NYC’s Kelly Moran puckers up a definitive sprawl with the opulence of ‘Moves in the Field’. Natural world inspirations are made technologically complex thru her adroit use of the Yamaha Disklavier; an advanced version of a player piano, prized for its ability to realise intricacies beyond human capabilities. Of course, there’s a human at work in the composition, but Moran utilises the instrument as an intuitive extension of her self, resulting in multi-layered, prismatic compositions riddled by a palpable techgnostic finesse that places filigree detailing at the service of building a bigger picture or narrative.
As on her string of self-released titles that lead up to ‘Ultraviolet’ and found their watershed moment on that album, Moran’s skill for following lines of extended melody is self-evident on ‘Moves in the Field’. You'd be forgiven for mistaking it as the work of more than one player, such is the sonorous richness of its call-and-response counterpoints and harmonic depth. But it’s all solely Moran at work, following her nose from the delicacies of ‘Butterfly Phase’ to the cascades of ‘Solar Flares’ via high water marks in the skin-prickle piquancy and swooning emotional register of ‘Dancer Polynomials’ and the panoramic description of its title piece, whilst proving equally adept at ushering quieter modes in the jazz blooz phrasing and harmonic aura of ‘It’s Okay to Disappear’ and elegant cadence of ‘Hypno’.
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Boomkat Product Review:
A leading pianist of her time - sought out by 0PN and FKA Twigs among others - Kelly Moran presents album #2 for Warp, weft with complex melodies keyed on a Yamaha Disklavier.
Six years since ‘Ultraviolet’, NYC’s Kelly Moran puckers up a definitive sprawl with the opulence of ‘Moves in the Field’. Natural world inspirations are made technologically complex thru her adroit use of the Yamaha Disklavier; an advanced version of a player piano, prized for its ability to realise intricacies beyond human capabilities. Of course, there’s a human at work in the composition, but Moran utilises the instrument as an intuitive extension of her self, resulting in multi-layered, prismatic compositions riddled by a palpable techgnostic finesse that places filigree detailing at the service of building a bigger picture or narrative.
As on her string of self-released titles that lead up to ‘Ultraviolet’ and found their watershed moment on that album, Moran’s skill for following lines of extended melody is self-evident on ‘Moves in the Field’. You'd be forgiven for mistaking it as the work of more than one player, such is the sonorous richness of its call-and-response counterpoints and harmonic depth. But it’s all solely Moran at work, following her nose from the delicacies of ‘Butterfly Phase’ to the cascades of ‘Solar Flares’ via high water marks in the skin-prickle piquancy and swooning emotional register of ‘Dancer Polynomials’ and the panoramic description of its title piece, whilst proving equally adept at ushering quieter modes in the jazz blooz phrasing and harmonic aura of ‘It’s Okay to Disappear’ and elegant cadence of ‘Hypno’.
Boomkat Product Review:
A leading pianist of her time - sought out by 0PN and FKA Twigs among others - Kelly Moran presents album #2 for Warp, weft with complex melodies keyed on a Yamaha Disklavier.
Six years since ‘Ultraviolet’, NYC’s Kelly Moran puckers up a definitive sprawl with the opulence of ‘Moves in the Field’. Natural world inspirations are made technologically complex thru her adroit use of the Yamaha Disklavier; an advanced version of a player piano, prized for its ability to realise intricacies beyond human capabilities. Of course, there’s a human at work in the composition, but Moran utilises the instrument as an intuitive extension of her self, resulting in multi-layered, prismatic compositions riddled by a palpable techgnostic finesse that places filigree detailing at the service of building a bigger picture or narrative.
As on her string of self-released titles that lead up to ‘Ultraviolet’ and found their watershed moment on that album, Moran’s skill for following lines of extended melody is self-evident on ‘Moves in the Field’. You'd be forgiven for mistaking it as the work of more than one player, such is the sonorous richness of its call-and-response counterpoints and harmonic depth. But it’s all solely Moran at work, following her nose from the delicacies of ‘Butterfly Phase’ to the cascades of ‘Solar Flares’ via high water marks in the skin-prickle piquancy and swooning emotional register of ‘Dancer Polynomials’ and the panoramic description of its title piece, whilst proving equally adept at ushering quieter modes in the jazz blooz phrasing and harmonic aura of ‘It’s Okay to Disappear’ and elegant cadence of ‘Hypno’.
Boomkat Product Review:
A leading pianist of her time - sought out by 0PN and FKA Twigs among others - Kelly Moran presents album #2 for Warp, weft with complex melodies keyed on a Yamaha Disklavier.
Six years since ‘Ultraviolet’, NYC’s Kelly Moran puckers up a definitive sprawl with the opulence of ‘Moves in the Field’. Natural world inspirations are made technologically complex thru her adroit use of the Yamaha Disklavier; an advanced version of a player piano, prized for its ability to realise intricacies beyond human capabilities. Of course, there’s a human at work in the composition, but Moran utilises the instrument as an intuitive extension of her self, resulting in multi-layered, prismatic compositions riddled by a palpable techgnostic finesse that places filigree detailing at the service of building a bigger picture or narrative.
As on her string of self-released titles that lead up to ‘Ultraviolet’ and found their watershed moment on that album, Moran’s skill for following lines of extended melody is self-evident on ‘Moves in the Field’. You'd be forgiven for mistaking it as the work of more than one player, such is the sonorous richness of its call-and-response counterpoints and harmonic depth. But it’s all solely Moran at work, following her nose from the delicacies of ‘Butterfly Phase’ to the cascades of ‘Solar Flares’ via high water marks in the skin-prickle piquancy and swooning emotional register of ‘Dancer Polynomials’ and the panoramic description of its title piece, whilst proving equally adept at ushering quieter modes in the jazz blooz phrasing and harmonic aura of ‘It’s Okay to Disappear’ and elegant cadence of ‘Hypno’.
Clear colour vinyl in printed inner sleeve and 3mm spine sleeve. Comes with download card from the label.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
A leading pianist of her time - sought out by 0PN and FKA Twigs among others - Kelly Moran presents album #2 for Warp, weft with complex melodies keyed on a Yamaha Disklavier.
Six years since ‘Ultraviolet’, NYC’s Kelly Moran puckers up a definitive sprawl with the opulence of ‘Moves in the Field’. Natural world inspirations are made technologically complex thru her adroit use of the Yamaha Disklavier; an advanced version of a player piano, prized for its ability to realise intricacies beyond human capabilities. Of course, there’s a human at work in the composition, but Moran utilises the instrument as an intuitive extension of her self, resulting in multi-layered, prismatic compositions riddled by a palpable techgnostic finesse that places filigree detailing at the service of building a bigger picture or narrative.
As on her string of self-released titles that lead up to ‘Ultraviolet’ and found their watershed moment on that album, Moran’s skill for following lines of extended melody is self-evident on ‘Moves in the Field’. You'd be forgiven for mistaking it as the work of more than one player, such is the sonorous richness of its call-and-response counterpoints and harmonic depth. But it’s all solely Moran at work, following her nose from the delicacies of ‘Butterfly Phase’ to the cascades of ‘Solar Flares’ via high water marks in the skin-prickle piquancy and swooning emotional register of ‘Dancer Polynomials’ and the panoramic description of its title piece, whilst proving equally adept at ushering quieter modes in the jazz blooz phrasing and harmonic aura of ‘It’s Okay to Disappear’ and elegant cadence of ‘Hypno’.
CD in 4 panel digisleeve.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
A leading pianist of her time - sought out by 0PN and FKA Twigs among others - Kelly Moran presents album #2 for Warp, weft with complex melodies keyed on a Yamaha Disklavier.
Six years since ‘Ultraviolet’, NYC’s Kelly Moran puckers up a definitive sprawl with the opulence of ‘Moves in the Field’. Natural world inspirations are made technologically complex thru her adroit use of the Yamaha Disklavier; an advanced version of a player piano, prized for its ability to realise intricacies beyond human capabilities. Of course, there’s a human at work in the composition, but Moran utilises the instrument as an intuitive extension of her self, resulting in multi-layered, prismatic compositions riddled by a palpable techgnostic finesse that places filigree detailing at the service of building a bigger picture or narrative.
As on her string of self-released titles that lead up to ‘Ultraviolet’ and found their watershed moment on that album, Moran’s skill for following lines of extended melody is self-evident on ‘Moves in the Field’. You'd be forgiven for mistaking it as the work of more than one player, such is the sonorous richness of its call-and-response counterpoints and harmonic depth. But it’s all solely Moran at work, following her nose from the delicacies of ‘Butterfly Phase’ to the cascades of ‘Solar Flares’ via high water marks in the skin-prickle piquancy and swooning emotional register of ‘Dancer Polynomials’ and the panoramic description of its title piece, whilst proving equally adept at ushering quieter modes in the jazz blooz phrasing and harmonic aura of ‘It’s Okay to Disappear’ and elegant cadence of ‘Hypno’.
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