What music would Erik Satie be making in 2017? And if you were organizing a record store, where would you file his new records? Should he be in Classical with Mozart and company? Or would you place his work alongside Philip Glass, Eno, the Masters Musicians of Joujouka, Arthur Russell and Aphex Twin's Drukqz? And what would you call that section? All these questions are relevant when talking about the immensely talented Kelly Moran. A strikingly original keyboardist, composer, and electro-acoustic sound producer living in New York City, Moran is releasing her new album through Telegraph Harp.
A small masterpiece, Bloodroot is a series of compositions for prepared piano, with and without electronics. Blurring distinctions between acoustic music and electronic music, Bloodroot also unearths the venerable prepared piano as a proto-avant-garde ancestor of today's electronic music, splitting off shards of shimmering bell and bow tones that lay hidden as latent possibilities within the strings. Moran takes the prepared piano on an evocative journey that calls up the ghosts of a supernatural gamelan and makes them dance in a land neighboring John Cage's imaginary landscapes. She turns the instrument inside out, celebrating the piano (and sound itself) down to the cellular level.
Using custom digital instruments she has created from her own recorded samples, and her pieces maintain a sonic identity that is entirely her own. Bloodroot is an exploration of timbres within the prepared piano, coupled with the digital processing of extended piano techniques. Hiding among these shimmering pieces, however, one also finds an unexpected sonic influence: metal. Which makes perfect sense considering Bloodroot happens to be mastered by seminal metal producer and Krallice/Gorguts/Dysrhythmia guitarist, Colin Marston.