Still thinking about a solo night at Seattle‘s JarrBar in 2019 where the bartender was playing records and put this on. At that point I hadn’t listened to the record in years but it reignited my love of it, as well as reiterated the transcendent experience a good bar/bartender can facilitate. It’s a top-5 bar moment for me, and I don’t take that lightly.
Jan 24, 2024

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This album…goddamn. S/o to the Herb Sundays substack for putting me onto what’s probably my favorite release of the year so far. It’s a beautiful piece of music front to back; very contemplative, sometimes sorrowful, other times achingly joyful. Can’t quite explain it the way I’d like, tbh. I have a feeling I discovered this at the exactly right time to fully receive it. It’s a good reminder just how context-driven art is. Moran employed a Yamaha Disklavier for this, which essentially plays a supporting role to her own playing. Per the Warp site: “Moran augments her pianistic abilities by utilising the Disklavier to write intricate piano parts that go beyond human capabilities, resulting in multi-layered compositions that blur the lines between human and machine.”
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