(photo credit: Antoine Lutens)
Montreal violinist and composer Jessica Moss has shared a video “Glaciers II”, taken from her new solo work Pools Of Light (Constellation). The video, which is hosted via The Wire, features her own original footage and comes about as Jessica hits the road in support of her latest album.
Friday 16 June UK, London – London Fields Brewhouse
Saturday 17 June UK, Birmingham – Supersonic Festival
Sunday 18 June UK, Brighton – Green Door
Tuesday 20 June Ireland, Galway – Róisín Dubh
Thursday 22 June Ireland, Dublin – DBD at The Mezz (date change)
Friday 23 June UK, Belfast – The Limelight
Saturday 24 June UK, Glasgow – Stereo
Sunday 25 June UK, Newcastle – The Cluny
Tuesday 27 June UK, Colchester – Colchester arts centre *
All dates in support of Zu, aside from the last date *when Jessica shall perform with Laniakea
With Pools Of Light, Moss has developed a distinctive and impressive approach to violin that combines a natural technical fluidity, a recombinant command of folk, classical and modern idioms, and an adventurous exploration of signal-bending and analog effects that uniquely expand the spectrum of the violin as sound source. The compositions unfold at a stately, inexorable pace, combining sound-art and signal-processed timbres, extended melodic and contrapuntal lines, and the periodic deployment of stark, minimalist vocals.
“Entire Populations” is a 24-minute tour de force on Side One, opening with gently blown-out solo violin layering a maqam- and klezmer-inflected theme that gradually recedes to near-silence as vocals are introduced, with Moss singing a single phrase (anchored by the song’s title) which builds up anew in careening stacked vocal loops, towards a majestic juxtaposition of dive-bombing electronics and strident melodic string excursions, ending in a tender scorched-earth denouement. “Glaciers I” and “Glaciers II” on Side Two are more explicitly textural and cinematic, moving between minimalist and maximalist, widescreen and intimate, ice and heat; a highly compelling suite of drone-inflected, nuanced and subtly plaintive instrumental pieces.
Moss explains: “As a solo performer, I feel an alignment with the transportive nature of storytelling tradition. My music is narrative, and I feel it’s subjects are already on everyone’s mind (climate change, refugee crisis, plastic garbage island floating in the sea…). My aim is to create a space where we can reflect on these things together. I prefer not to use too many words to relate; once the ideas are contextualized, conjuring images with sounds and melodies feels just as powerful to me and also more accessible in many ways. I don’t have an agenda, certainly not a solution, just a great sense of empathy and desire to be sharing space and experiences. I believe that having these transporting moments together can be both a balm and a way to receive energy to move forward, to engage.”
This is elegiac durational music at the intersection of neo-classicism, soundtrack, electronic, art-punk and avant-folk – a decidedly organic, non-academic, profoundly searching and emotive work, guided by Moss’s liner note mantra: “FEELING LOVE IN A MELTING WORLD”.
(album artwork, available in hi-res)
1 Entire Populations (Pt I)
2 Entire Populations (Pt II)
3 Entire Populations (Pt III)
4 Entire Populations (Pt IV)
5 Glaciers I (Pt I)
6 Glaciers I (Pt II)
7 Glaciers II (Pt I)
8 Glaciers II (Pt II)