Starting with the first, 'Dodone,' of the album’s five tracks (all taking ancient Greek names) Zoe Efstathiou’s playing is unexpectedly aggressive, propelled by some kind of inner energy, I guess. As I always try to make the connections between the title of the recording and the music itself, the word chaos (imagine standing at the edge of it) can come to mind, while listening.
Eftathiou utilizes the keyboard as a weapon of anger or sorrow, leaving small silences in between to ease the tension. This is a solo piano recording indeed but one that doesn’t bring only the keyboard on the forefront. The acoustics of the studio, how the pedals of the piano are being used, and the willingness of its creator -of course- resolve into building, right from the start, a cinematic feeling, some kind of otherworldly ambience. Like molecules that travel into space before they vanish into it’s vast, chaotic, openness.
The music on Edge of Chaos, clocking just over half an hour, provoke the listener to leave the notion of solo piano playing totally behind. Is it an experiment? It is. Could it be an ambient recording? Definitely. It is also a “heavy” listening, one that takes over the space where you are right at the moment you press play. Impressive in creating spaces, where the album can stand on its own, without the listener thinking of trivial things like time. Ranging from the margins of pop up to Cagean piano experiments, the recording of Edge of Chaos is a timeless listen, one of those you will want to experience again many years after the first time, without wondering when was this.
Listen here:
@koultouranafigo
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