‘Corridor’ is a track from Michelle Moeller’s soon-to-be-released debut album, ‘Late Morning.’ You can look forward to hearing the full album this Friday!

Michelle Moeller is an Oakland-based composer, performer, and teacher drawn to foundational lyricism and predicates dissonant textures. She studied piano performance at the University of Missouri, and her compositional style gravitates to live signals, custom effects, and computer synthesis of intricate electroacoustic systems. On the album, Moller plays prepared piano and electronics. The percussion on the track is by Willie Winant, with additional percussion by Wesley Powell.

‘Corridor’ steers away from the common time, 4/4, and weaves a tapestry of 5/4, an odd time signature, from the very start of the track with a groovy intro. Given Moeller’s inclination to dissonant textures and synthetic electroacoustic soundscape, the use of an odd time signature, like 5/4, lends this track layers of sophisticated flavour and John Cage-esque head-spinning, angular rhythmic interest.

Moeller’s use of musical instruments imparts an intrinsic indeterminacy to this track, which, in a great way, will keep the listeners guessing what is about to be bestowed upon them. Each instrument, by itself, has a well-defined route that it is directed to. But, how each instrument blends with and morphs through the space between other instruments, is what makes ‘Corridor’ a unique experience.

There is an eluding order in this seemingly chaotic soundscape. This song often offers melodically tasteful and quintessentially tonal lines and movements in the foreground of brisk atonal elements. Along with Moeller, Winant and Powell play a vital role in this regard. The cowbell and maracas-like sounds, as percussion, leave out enough space for the piano to shine.

‘Corridor’ ends with the outro in the common time embellished with syncopated piano chords and jaw harp sounds, leaving listeners in a state of complete bliss.