Album Release: Molly Thomspon “Ash”

Molly Thompson, Ash

I was the recording engineer on Molly Thompson’s song Touch, just released on her CD “Ash”.  I went to school at Mills with Molly, and we had a great deal of fun recording this, and a few more songs, at the now closed Spark Studios in Emeryville.  One of them ended up on this record.

The track also includes vocals by Kristine Barret, Cello by Theresa Wong, and Piano by Quentin Sirjacq; also all fellow Millsians, and excellent musicians.

Molly’s songs defy many attempts at description or classification.  They retain their accessibility while diverging from the norm, and generally create an otherworldly vibe.  This is mixed with a healthy dose of folky sensibility.  It all makes for an incredibly interesting and satisfying listen.

It was a pretty packed session for most of the songs we recorded, not so much overdubbed by a lot of people playing at once, but split up in several rooms (one of the advantages of spark).  Mills players tend to thrive in group improvisatory situations, and I think it shows on this song in particular.

Here is Molly’s bio:

Molly Thompson is a New York based composer/performer. Her music has been performed at venues as diverse as NYC performance spaces, new music festivals, and Parisian jazz clubs. She has been commissioned by California E.A.R. Unit, Composers Collaborative, Margaret Lancaster, and Kathleen Supov and has been resident at Villa Montalvo, I-Park, the Oregon Bach Festival, and Bang on a Can’s Summer Institute. The LA Times called her Draft of Shadows “a clever mash-up of tango, rock rhythms, and taped city noises”, Spoleto Today called The Great Hush eerie and lovely”, while the New York Times described Our Mingling Arms as “rhapsodic music”
with “jazzy outbursts and exuberant chaos.”

You can find this record on

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