Rachel Corrie by Kim Glover
The track principally draws upon the aesthetics of sound poetry and traditional string writing, the instrumentation largely consisting of a synthesised string quartet and spoken word, later developing to include a notable trip-hop influenced breakbeat section. The spoken word element is derived from 'My Name Is Rachael Corrie,' a theatrical work which contains primarily excerpts of Corrie's own personal diary. For those unfamiliar with the subject, Rachel Corrie was an American member of the International Solidarity Movement who tragically died while attempting to prevent the demolition of a local Palestinian's home.
The string writing in this piece follows a musical structure known as Sonata Form, an interesting decision which by virtue of a variety of thematic material evokes a wide range of emotions, several areas of the work proving particularly effective due to a discontinuity between the sobering nature of the spoken word and overly optimistic musical writing. As the piece develops, the vocal elements are subjected to electronic processing in a manner comparable to early AustraLYSIS works, such as 'Nuraghic Echoes' which is reviewed here.
The concluding section of the work introduces heavy percussion elements and background samples, while the vocal elements are purposefully removed from the mix, giving the final words which note Corrie's death greater prominence as the work ends. This section is overt in aesthetic references to trip-hop acts such as Massive Attack and adds great interest through such a contrasting style of writing compared to the work's beginnings. While the track's production could be refined further, the work shows both great promise and skill from this highly unique composer. The Sonic Music Review would like to take the chance to wish Kimberly Glover every success in the future.
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