Frederick Moore | An Obscure Presence

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Rock: Experimental Rock Rock: Avant-Prog Moods: Type: Lyrical
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An Obscure Presence

by Frederick Moore

Harmonically adventurous rock music with an experimental, electronic edge supports existential/beat meditations and semi-linear narrative.
Genre: Rock: Experimental Rock
Release Date: 

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Tracks

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1. Silver Bell
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3:37 $0.99
2. Sistine
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3:47 $0.99
3. Waves
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3:03 $0.99
4. Anarchy
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4:35 $0.99
5. Rain
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3:45 $0.99
6. Working the Stone
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2:32 $0.99
7. An Indigo Suffused
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0:24 $0.99
8. Frugal
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1:50 $0.99
9. Toledo
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3:58 $0.99
10. Unrequited
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3:18 $0.99
11. Midtown Gothic
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3:32 $0.99
12. Entangled
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3:45 $0.99
13. A Binary Stone
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0:24 $0.99
14. Ajab
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1:13 $0.99
15. Junta Keystone
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2:46 $0.99
16. Cold Wind Blow
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3:00 $0.99
17. Nightlight Mary
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4:55 $0.99
18. Happy Millennium
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3:41 $0.99
19. An Observer Observed
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4:06 $0.99
20. Her People Dissected
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7:17 $0.99
21. Dream of the Babbling Ones
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2:59 $0.99
22. Puerperal
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2:17 $0.99
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ABOUT THIS ALBUM


Album Notes
Frederick Moore is a composer, poet, and producer who lives and works in Los Angeles. He first gained attention in the early 90's as a producer of successful new music concerts during a time when very little new music was being produced in Los Angeles. As a composer, Moore is well grounded in the technological innovations of both the avant garde and academia, yet he has a way of utilizing these in contexts which are coherent and decidedly nonacademic. As a poet, his varied influences include existential philosophy, popular media, and beat poetry. At times he poses as a teller of stories, while other times as a declaimer of nonlinear meditations which drift in a stream of obliquely related themes.

In recent years Moore has worked almost exclusively as a recording artist, producing Sons of Friction, Lives of the Saints, An Obscure Presence, and 13th Idiot Blessed.

In the mid 90’s I began to perform a great deal with guitarist/producer, Phil Calvert. Up until this point, my performances occurred mostly in art galleries and other more established avant garde venues in the Los Angeles area. With Phil I spent much more time performing in clubs. The result is a whimsical collection of pieces, An Obscure Presence, probably more accessible that those from Lives of the Saints. Eight of the selections were written in collaboration with Phil. These tend to be harmonically and formally more conventional, but are certainly quirky and experimental if in a more modest sense. Still here, is the microtonality and a structural sophistication arrived at in an alternate way. Each of the four quadrants is intended to be heard as a unit. The first three of these really comprise An Obscure Presence. The final quadrant, "The Observer and the Observed," is a studio realization of a “micro-opera” composed in the mid 80’s and bears little relationship to the preceding three.

I spent a good deal of time working alone here. Phil plays guitar on a track or two. Percussionist Mark Griskey makes an appearance. Cinthea Stahl and Timothy K. Taylor play major roles in "The Observer and the Observed."


Reviews:

“Full of multiple implications and shadowy shades of meaning... charged with religious and spiritual insinuations. Saints, angels, demons, the primal, urban eccentrics touched by something otherworldly, the blessed, and the haunted populate the landscape of Moore’s wandering/ wondering composition/text pieces.” 
 Titus Levi, Keyboard Magazine

“Radio theatre as Brian Eno might have conceived it. I’ll be hanged if I understand any of it, but I like it ........ more substantial than Robert Ashley. It is indeed a pleasure to encounter a recording that’s as unique and interesting as the hype claims”
 Michael Bloom, Boston Rock“

"Against backdrops, musically evocative and varied , Moore tells Brautiganesque stories alive with an uncritical love of language.”
 John Henken, The Los Angeles Times

“Moore is a master of building tension. Complex timbres and textures slowly evolve from simple passages and then suddenly resort back to simplicity with a focus once more on the text . . . (He) captures the alienation of urban life in a nondescript American metropolis”
 Rodney Oakes, Journal SEAMUS

“Quietly lyrical and surprisingly erotic.”
 Laurence Vittes, The L.A. Reader


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