Kelly Moran, the celebrated experimental composer and pianist, is undisturbed by a rare earthquake that recently hit New York whilst she was on a Zoom call. Despite the unexpected event, she continues her conversation with a companion in their apartment, comparing the tremor to a strong air conditioner vibration.
In many ways, Moran’s music echoes this experience; it presents a calm exterior while underpinned with moving and earthy undertones. This characteristic is perfectly demonstrated in her stunning new album, Moves in the Field. The Irish-American musician is due to perform tracks from this album in Dublin over the weekend.
Created in the silence of lockdown, the album is inspired by personal trials and family upheavals. Moran, aged 36, returned to her family home in northern Long Island just before the onset of the pandemic. She found herself coping with a family shock as her parents, both 70, chose to go their separate ways. Moran’s father left abruptly after meeting someone else, leaving a deep void in the family.
Originally, Moran had been contemplating recording an upbeat album suitable for festival performances. However, the pandemic put a halt to her touring schedules, and her label granted her the freedom to spend more time on her new LP. In the interim, each day felt incredibly foggy at her family home without her father.
The first section of the original text also references articles related to Richard Gadd’s show Baby Reindeer, an interview with Nicola Coughlan, Nuala O’Connor’s adult autism diagnosis, and the success of Irish novelists. However, these are not directly linked to Moran’s story.
When she was forced to move home, it was never in her plans to make it a permanent arrangement. She was navigating through an emotional voyage, grappling with her father’s divorce and its effect on her mother, while simultaneously coming to terms with losing her income and future potential – all that she thought she’d worked towards.
The adversities she faced gave rise to a transformation, emanating in her album, Moves in the Field. The musical compositions transcend the bounds of an artist stepping out of her safe zone, enthralling listeners with rhythmic beats and captivating melodies. She produced it by tapping into the prowess of a Disklavier – an advanced piano that could duplicate performances. This piece of art provided by Yamaha served as a loop pedal of sorts for Moran.
Adopting the Disklavier was a novel approach for her. Moran, an alumnus of both Michigan and California universities, was accustomed to a “prepared” piano, characterised by the utilization of items placed on the strings or adjusting string tunes to achieve an intriguing tonal effect. The ability to accompany herself with the Disklavier transformed her composition process, unlocking untouched emotional depth within her.
With an Irish grandfather, Moran was raised in a typical devout Irish-American Catholic family. This challenging period was intimidating for her. On the brink of losing her musical motivation, the Disklavier emerged as her lifeline. Her original ambition was to record a lively track, suited for festival performances and catalysing euphoric dance moods. Suddenly, that world ceased to be a reality she could chase.
Numerous sources of inspiration fuel Moran’s creativity. During her twenties, she was part of a punk band with future TikTok sensation, Mitski. Her influences are manifold, from electronic band Telefon Tel Aviv to the progressive metal group, Kayo Dot. Her fondness for Tori Amos profoundly shapes her work on Moves in the Field, specifically drawing from Amos’s hit album, Boys for Pele – most famously recognised for the track Professional Widow.
According to Kelly Moran, the music of Tori Amos and specifically her ‘Boys for Pele’ album, possess a certain timeless influence. Moran points out the unique use of subtext and metaphor in these songs, something she believes has lost prominence in an era where musicians are more straightforward and candid with their lyrics.
Reflecting on a recent article she read, Moran laments the lack of abstract concepts in contemporary pop music, claiming that many songs serve simply as quotable soundbites. She speaks of a recent video featuring a new pop singer, noting its complete focus on self-centered statements without any tonal balance or nuances. She appreciates Tori Amos’s abstract approach, insinuating personal yet obscure meanings that may require repeated listening or deeper thinking to comprehend.
Moran, who has Irish roots via her paternal grandfather, speaks highly of her first performance in Ireland, which occurred last October at the Haunted Dancehall festival held at the National Concert Hall. She supports the decision of Irish musicians to boycott the South by Southwest music festival in Texas this year, due to the US Army’s sponsorship of the event. She also speaks up about Gaza during her concerts, although reactions vary greatly.
During her Dublin performance the previous year, she found herself caught in a wave of solidarity. It reinforced how Irish people understood the current situation better than most, due to their historical experiences. To Moran, the outspoken nature of the Irish people is inspiring, and she believes they have always been on the right side of history.
Moran’s next performance is scheduled for Sunday, April 28th, at the Pavilion Theatre in Dún Laoghaire, Co Dublin.