Anfang Oktober und somit gut ein Jahr nach dem von Publikum und Kritiik gefeierten Album “Phosphenes” erscheint mit “Galaxy Heart” ein neues Vollzeitwerk der kanadischen Geigerin und Komponistin Jessica Moss. “Galaxy Heart” ist als komplementär zu seinem Vorgänger konzipiert und betont die eher raue, kraftvolle und in vieler Hinsicht noch unsortierte Seite einer Musik, die auf “Phosphenes” eine formvollendete, post-klassische Gestalt offenbart hat. Der Track “Uncanny Being (Violin Study #2)”, an dem Drummer Jim White (Dirty Three, Xylouris White) und Kontrabassist Thierry Amar (Godspeed You! Black Emperor) mitwirken, ist bereits auf diversen Plattformen als Single erhältlich. “Galaxy Heart” erscheint in den gängigen Formaten bei Constellation Records.
“Alone and in the absence of any markers of the outside world I had previously inhabited, the jamspace became a holy space, and I wanted to be free. I wanted to expand, fill the room… I wanted to be a conduit for grand ideas without needing to imagine how they “fit” within my own (self-constructed) artistic constraints. The isolation and exterior constraints required that I go deep inside to find a way forward, and on that internal journey I encountered some deeply ensconced self-imposed limits and obstacles. I recognized that I’d been relying on these as guideposts, but upon inspection I discovered they’d also been standing in my way. Blocking some unexplored paths towards unhindered expression.
With no external pressure of deadlines, with no outside ears or eyes… with no idea how or when I would ever be in public again, I made it my pursuit to face those doubts and worn-out notions of what I believed to be my limits head on; and then to let them go. And in so exploring, I found new ways, new loves. Let my violin lead. Let my voice lead. Played the guitar loud, in the way I love but never believed belonged to me. I let those things in, welcomed them instead of stopping them at the gate. Left space. Took up space. I wrote a song, recorded the vocals in my bed. Sent Nadia’s old organ drum machine through my pedal board and made some beats, allowed them to find their way into the music and stay put. I asked my friend/ favourite drummer Jim White if he’d want to record some tracks for me, in virtual musical communion with Thierry, and he beautifully obliged.
This album represents me throwing out some old preconceptions of myself and my instrument, and stretching my relationship with solo expression further than I knew I could reach. And consequently, represents what feels like new doors opened, new paths forward. Somehow, in the middle of everything, I’m still looking forward.” (Jessica Moss)