{"id":7211,"date":"2025-12-06T21:00:00","date_gmt":"2025-12-06T21:00:00","guid":{"rendered":"https:\/\/musictechohio.online\/site\/kelly-moran-dont-trust-mirrors-review\/"},"modified":"2025-12-06T21:00:00","modified_gmt":"2025-12-06T21:00:00","slug":"kelly-moran-dont-trust-mirrors-review","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/kelly-moran-dont-trust-mirrors-review\/","title":{"rendered":"On Kelly Moran\u2019s \u2018Mirrors,\u2019 All Is Not What It Seems"},"content":{"rendered":"
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(photo: Brian Karlsson)<\/figcaption><\/figure>\n

The latest Warp album from the New York composer\/pianist Kelly Moran, Don\u2019t Trust Mirrors<\/em>, is the culmination of six years of work, and it sounds like a definitive career statement. In retrospect, 2024\u2019s conventionally pretty neo-classical record Moves in the Field<\/em> stands as an anomaly in her catalog. Its elegant, sprightly piano pieces diverge from more dissonant Moran albums such as Bloodroot<\/em> (2017) and Ultraviolet<\/em> (2018). Now, she\u2019s back to making hypnotic compositions that subtly clank outside of polite society\u2019s expectations.<\/p>\n

A disciple of John Cage, Moran uses prepared-piano techniques \u2014 inserting objects on and between the strings, sometimes playing the strings with her fingers or an EBow \u2014 along with electronic-music treatments (she\u2019s collaborated with Daniel Lopatin and performed in Oneohtrix Point Never\u2019s band on the Age Of<\/em> tour, and it shows). Time and again on Don\u2019t Trust Mirrors<\/em>, Moran tricks the listener into thinking the main instrument here is harp, which, if you\u2019re a fan of Mary Lattimore or Brandee Younger, is a plus. This legerdemain reflects the title\u2019s admonition that all is not what it seems.<\/p>\n

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