Cold Blue

Pianist Sarah Cahill plays all the three different overlapping manual loops that form the tranquilising architecture of Kyle Gann’s “Long Night”. Although the music is absolutely not intricate (it works wonders as a source of relaxation while you’re immersed in different activities – wasn’t that the very concept of “ambient music”?), the cross between the casual intersections of modulating chords and the Satiesque peacefulness of Cahill’s keyboard painting, with its beautiful natural resonance, is complex enough to substantiate the creative effort and imagination Gann has put into the work. The thin air moves in and around this mature evocation of events definitively entrapped in a past from where they can no longer return; just being able to have a peek at them through this ancient looking glass brings long nights of aural fascination.

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