Mary Lorson and Billy Cote: “Piano Creeps”


Aside from a newborn and an overlooked body of work, Mary Lorson and Billy Cote share a passion for film. After their band, Madder Rose, died from a bad case of under-appreciation in 1999, they began to compose music for motion pictures whenever they weren’t wandering through each other’s solo efforts. Lorson pinched the soft underbelly of jangle-pop with her project Saint Low while Cote’s “The Jazz Cannon” set its sights on sequencers and samples. They scored several indie films during this time, including an HBO documentary on photographer Sally Mann. Lorson was particularly inspired by screen music’s emphasis on mood over lyrics. Being a vocalist, she says that the loose, instrumental format was liberating, since there was never a need to “get to the chorus.”

“Piano Creeps” is a collection of these cinematic ditties. Here violins, Moogs and spare beats roll downhill at varying speeds, while tweaked guitars and ivory keys are picked, plunked and tinkled leisurely yet deliberately to create sounds that are slow-soaked in ambience.

Read the full review at The Japan Times Online.

Mary Lorson and Billy Cote: "Piano Creeps" | The Japan Times Online

About Jason Andrew Jenkins

In 1997, Jason left his home near Atlanta for a year abroad. He liked it so much that he never went back. After three years in Taiwan and 13 years in Japan, he and his wife quit their desk jobs in Tokyo, pulled their kids out of local schools and traveled as a family for six years, living in Malaysia, Spain, and Mexico along the way. They returned to Japan — Osaka this time — in the summer of 2019. Jason loves Google Maps, carry-on luggage, and most dishes registering on the Scoville scale.
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