What the reviewers are saying about
The 1/2 Creeper
Aiding and Abetting
181.4 Degrees from the North
Derek Daniel, reviewer for the United Kingdom's Progressive Rock zine, reported this about TransFormations
Looking at the cloudy sky which features on the cover of TransFormations, I expected one of the Mind, Body and Spirit tapes—a kind of watered down Enigma. I was pleasantly surprised to hear something a little different.
Sarah Flannary at station WSVC in Richlands, VA said this about TransFormations:
Eerie and beautiful - liner notes are great. This is like, the perfect background music for a ghost story or radio drama. The bells, oboe, and sax add a lot ot her compositions.
Daphne Robinson reviewed TransFormations for Music Scene, the online magazine that comes out of Chicago.
Several songs all designed to make your feel more at ease with your day. This music has no blasting songs or wild transitions. Instead Valarie Morris uses direct gentility to pervade your senses.
Jim Santo recently reviewed TransFormations for the Demo Universe section of Outer Sound, an online site dedicated to giving global exposure to independent labels.
A charming collection of 30 musical vignettes composed, performed and recorded by Morris. Synthesizer is her principal means of expression here but she composes for a variety of orchestral instruments, including flute, oboe and contrabass.
Marie Daubert's unique pictorial review of TransFormations appeared in the premiere issue of the French 'zine demophone.
Paul Autry reviewed TransFormations in the September 1997 issue of The 1/2 Creeper. This fanzine comes out of Pennsylvania.
This release is pure musical beauty. There's a little bit of everything on this recording. A 35-second trumpet intro, funk, tango, improvs, flutes, an Irish jig, all performed by the multi-talented Valarie Morris.
Brooklyn, New York's Joe Griffo reviewed TransFormations in the March 1998 issue of his zine, "Ruff/Life." Joe says:
This is a good album to read by or meditate with. Classical-like tunes on synth that are like a bath of sound.
Unlike many electronic composers who try and cram their music full of wildly varied melodies and sounds, Valarie Morris rarely ventures past a single melody. Her songs are simple and unadorned, beautiful in their starkness.
Miami's Omar Perez reviewed TransFormations for the April 1998 issue of the online zine "Altar Native."
Throughout this release, composer and performer Valarie Morris opens up her diary, and is kind enough to share with us the points of her life that make TransFormations a listening experience. The neo-classical orchestrations and electronic instrumentation yield various moods and textures. Morris is one songwriter who does not believe everything has been done in music.
In a 1997 issue of Pitch Magazine, John Williams wrote this about TransFormations.
Blending natural and electronic tones into a disturbing multi-tonal juxtaposition, this jaunting effort pays off with repeated listens and eventually leaves you with a deeper understanding of one person's sacred space and the bravery to share with others.
On TransFormations, Valarie Morris provides a series of compositions using traditional instruments that baffle and entertain simultaneously. Sounding nothing like what you'll hear on the radio, or just about anywhere else, TransFormations shifts mercurially between moods, often sounding like musical concepts and snippets strung together for the artist's enjoyment. Morris seems to have a "let's try it" attitude, and she tackles genres and styles with no prejudice. Not necessarily the easiest thing to listen to, but very rewarding and inspiring.
TransFormations is a collection of quirky musical miniatures. Modern post-classical composing collides with whimsy to give us a tour of composer Valarie Morris' musical mind.
Valarie Morris from the West Coast of California has released a very surprising and confusing look into studio music. The album is thirty pieces that stream from movie score to video game music with only six of the pieces over two minutes ...
John Collinge, editor of Progression Magazine, the Journal of Progressive Music, reviewed TransFormations in their Spring 1997 issue.
Multi-instrumentalist Valarie Morris certainly cannot be accused of pandering. Another flaccid new age puff job, this is not. TransFormations is a study in mood and tonality through minimalistic, neo-classical chamber electronics.
Mike Ezzo, staff writer for Exposé, a magazine that "Explores the Boundaries of Rock", reviewed TransFormations for their Spring 1997 issue. Here are some excerpts.
Like an artist's sketchbook; that is, in essence, what TransFormations presents itself as ... Valarie's education and impressive musical background hold her in good stead—a graduate of Mills College, she proves thoroughly her compositional clout. The music is well constructed, displaying a keen ability for unifying, that few rock musicians possess ...
Geoff Wilbur, in the May 1997 issue of his Renegade Newsletter, has this to say about TransFormations.
I don't know quite what to make of Valarie Morris' TransFormations. It seems best suited to soundtrack work.
©1996-2012 Skyblue Productions. All Rights Reserved.
Content created and managed by Valarie Morris
Design and artwork by Sherry Miller
For information, please contact firstname.lastname@example.org