Michael Vincent Waller: Trajectories
Lovely, fragile, sanguine piano compostions
- 01 By Itself
- 02 Visages I A Lonely Day Dec. 4th
- 03 Visages II Year of the Ram
- 04 Visages III Maidens Dancing
- 05 Visages IV Lashing Out
- 06 Visages V Onomatopoeia
- 07 Visages VI Obviously
- 08 Visages VII Inner World
- 09 Visages VIII Three Things
- 10 Lines
- 11 Breathing Trajectories Part I
- 12 Breathing Trajectories Part II
- 13 Breathing Trajectories Part III
- 14 Dreaming Cadenza
- 15 Laziness I
- 16 Laziness II
- 17 Laziness III
'Trajectories is the second full-length album by Michael Vincent Waller, featuring pianist R. Andrew Lee and cellist Seth Parker Woods.
In these evocative works, Michael Vincent Waller details his responses to mostly situations of introspection, in which the composer reveals his most private emotions. The compositions themselves could be described as “minimalist” in their means of expression, but they are not simply repetitions of patterns without narrative invocations. We feel and we see and we realize meditations on very personal or very quiet situations that express to the listener some of the very sincere and insightful revelations about the composer’s responses to the world, and to his own creative generation of imagery. In other words, his “minimalism” is not a mere repetition of patterns but a choice of sounds that evoke distinct images and feelings that help us experience the psychic background and artistic motivations embodied within the art-work. This truly beautiful and direct music reveals deep emotion of a very fine sensibility, exacting in its subtlety of form.'
Michael Vincent Waller: Trajectories
Lovely, fragile, sanguine piano compostions
'Trajectories is the second full-length album by Michael Vincent Waller, featuring pianist R. Andrew Lee and cellist Seth Parker Woods.
In these evocative works, Michael Vincent Waller details his responses to mostly situations of introspection, in which the composer reveals his most private emotions. The compositions themselves could be described as “minimalist” in their means of expression, but they are not simply repetitions of patterns without narrative invocations. We feel and we see and we realize meditations on very personal or very quiet situations that express to the listener some of the very sincere and insightful revelations about the composer’s responses to the world, and to his own creative generation of imagery. In other words, his “minimalism” is not a mere repetition of patterns but a choice of sounds that evoke distinct images and feelings that help us experience the psychic background and artistic motivations embodied within the art-work. This truly beautiful and direct music reveals deep emotion of a very fine sensibility, exacting in its subtlety of form.'