Jacqueline Cordes - Singularity

​Jacqueline Cordes

Singularity
self-released; 2024

​​By ​Dino DiMuro​

Jacqueline Cordes is a composer of just 22 who’s released an amazing first album titled Singularity. I’ve long had an interest in “The Singularity” since reading the original book by Ray Kurzweil, so I was hooked from the start. For those new to the term, The Singularity is a “singular event” that might come about when the intelligence of machines and computers outstrips that of humans, along with our ability to keep them in check.

The notes for this album state that Cordes has synesthesia, which is not a musical instrument but a condition where a person actually sees music in vivid, ever-changing colors and shapes: “Jacqueline’s synesthesia drives her passion for music and her endless quest to create new musical worlds.” Cordes has studied composition in college and also creates soundtracks for student films, which accounts for the John Carpenter/horror film feel of some of her music. Cordes lists as musical influences Danny Elfman, Radiohead, Trent Reznor, Depeche Mode, and Łukasz Michalski, but I’ll be damned if I don’t hear Bach, Mozart, or even Beethoven! Within indie music circles her compositions remind me of Oregon composer Edward Givens, who also breathes new life into these older classical and baroque traditions.

“Otherworld” starts the album with an eerie, repeating piano motif that is quickly surrounded by spirit-like waves of synth chords. It’s both unsettling and beautiful at the same time. Soon the piano drops out completely in favor of an insistent, repeating synth bass note. Cordes explores the few spare notes and chords she’s written without overthinking or wearing out her welcome. “A Child’s Song” moves us into classical piano territory a la “Moonlight Sonata” suffused with nightmare vibrations. As the keyboards build harmonic variations, there’s a lead melody that sounds like it’s being sung by children from beyond the grave, especially the final “voice” that will make the hairs on your arm stand up.

“Encounter From Beyond” is a tender duet for violin and arpeggiated piano, eventually adding cello to create three-part melodies. The title is interesting because I could imagine the ending of “Close Encounters” using this music instead of the John Williams score when the aliens appear. “De tous biens plaine” is a lovely baroque composition that evokes lutes, mandolins, and a sweet soprano voice singing in French (or is it backwards?) with a reverb that seems to sweep in and not out. “Amber Sky” returns us to dramatic musical territory, a sort of love theme for reticent heroes. The melodies here really spoke to me, especially as fully realized on the piano.

“Reality 101 Failure Intro” is a short organ-like prelude to “Tunnel (Running Theme)” which begins with roiling, subsonic billows of sound. I happened to hear this while on an early morning walk surrounded by storm clouds, and the pairing was almost too perfect. The higher melodies here come in the form of John Carpenter piano and wispy patches that sound like a ghost choir. “The Pursuer” also explores movie score territory, this time with what sounds like a virtual (but very realistic) orchestra. The themes here are amazing and evocative. “Aurora” concludes the album with a track built on sonorous drones, bells, and haunting, wordless vocal samples.

When reviewing, I often highlight my assigned albums on Spotify, but they eventually fall off. Not this time! So glad I have this album, and I highly recommend the work of this promising young composer!

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