by David Wilikofsky
To an indie rock audience, Kelly Moran may be best known for high profile collaborations with artists like Oneohtrix Point Never and FKA Twigs, but the musician and composer has also quietly amassed a dazzling catalogue of solo work. While much of it has focused on prepared piano experiments, her latest album is something entirely different. One of the main sounds you hear in Moves in the Field is the Disklavier, a technologically advanced version of the player piano. The album consists of duets between Moran and the machine, the Disklavier’s superhuman abilities providing a backdrop for Moran’s own emotive playing. Her compositions walk a tightrope between accessibility and experimentation, ultimately achieving a perfect balance between the two.
When I think of the player piano, the first name that comes to mind is Conlon Nancarrow. Nancarrow was one of the first composers to explore the possibilities of the technology, writing music that’s clearly beyond human capabilities; cascades of notes, frantically intertwining melodies and the influence of jazz and boogie-woogie are all hallmarks of his work. Moran’s use of the technology feels quite different, though it’s ultimately traversing similar compositional outer limits. Tracks like “Superhuman” or “Dancer Polynomials” are buoyed by a seemingly endless torrent of notes, but rather than overwhelm they pull you along like a strong current. “Leitmotif” starts out sparse before climaxing with flurries of notes, exploding one after another like a fireworks display. It’s evocative music, preferring melody and harmony over showy displays of technical knowhow.
Technology is a tool, but tools can often define end products. Perhaps the most impressive thing about Moves in the Field is that the Disklavier powers Moran’s vision rather than overpowering it. It’s quite easy to miss the fact that you’re hearing duets between man and machine; Moran’s focus is ultimately on texture and melody, and the technology is simply a means by which she can create those things. Yes, the technical rigor and precision that have clearly gone into this music, but it’s equally vibrant and beautiful; you could pore over its every detail or simply let the music wash over you. Moves in the Field is the perfect marriage of form and substance, an album as deeply experimental as it is eminently accessible.