#john moran

[7pleiades7]

The Penitent Mary Magdalene in the Cave, (Detail), (1890), by Edouard Kasparides (Austrian, 1858 – 1926), oil on canvas, 45.5 x 67 in (115.6 × 170.2 cm), Private Collection

[gacougnol]

John Moran

Tropical Scenery, Limon Bay, Low Tide, 1871

[dustedmagazine]

What Is Now — Both/And (Algorithm Free)

Chris Forsyth leans into the cool jazz aesthetic of his new ensemble at first, but these long pieces morph, over time, into driving, droning grooves. The trio, What Is Now, is made up of the Philadelphia experimental guitarist plus John Moran and Joey Sullivan, the rhythm section from Bark Culture, a vibraphone-forward cool jazz combo centered around Victor Vieira-Branco.

This EP under review includes three extended, improvised tracks, jazzier than Forsyth’s typical grooves, but only intermittently. The title cut is loosely put together, with glancing connections between instruments largely pursuing their own ends. The longest of these cuts, it is also the least boxed in by time signature. It stirs to life in a rumble of drums, abstract stabs and slouches of acoustic bass and then furious spurts of agitated bowing. Forsyth’s guitar is high and clear, without the smudges and slides that would align it with his bandmates’ jazz inclinations but also sans the motorik pulse or boogie you expect from Forsyth. Instead, you hear a slush and shuffle of drums, piercing guitar shrieks, and the bass, knotted up in snarls, punching out quick combinations. The guitar gets sharper, louder, more emphatic as the piece goes on, gradually filling up the space so that it sounds more rock and less jazz.

That opening cut is the one with the most give in its joints. "7-11 Red Eye” is, by contrast, battened down and goal-oriented, and even the contemplative “No Name II” adheres to a steady cadence. And yet, there’s something inviting about the fluidity of the jazz bass, the intricacy of the tricky drums, pushing through post-rock propulsion like kudzu. It has always been hard to say whether Chris Forsyth plays rock or blues or drone or boogie. It depends on who’s around and how he feels about things. Here with two veterans of Philly’s jazz scene, he explores grooves that are more open-ended than usual, but bends them over time toward regular, repeating psychedelic grooves.

Jennifer Kelly

[dame-de-pique]

John Moran - Palm trees on island, 1871

[deterioratingangel]

“Scary or Die” (2012) dir. Bob Badway, Michael Emanuel and Igor Meglic

[chubachus]

A collection of animated stereoscopic photos of people in the streets of Cartagena, Colombia, from 1870 and 1871. They were taken by either Timothy O'Sullivan or John Moran, who were both photographers part of the American Darien Expedition to Panama.

Source: New York Public Library.

[gacougnol]

John Moran

Solitude

1865

[productofnfld]

Big Ravine by John Moran

John Moran’s latest single Big Ravine is a tight, three-minute slice of indie rock that feels both fresh and familiar. Rooted in the post-grunge and early-2000s indie sound, it’s the kind of track that wouldn’t be out of place on an old burned CD in your glove compartment—fuzzy guitars, layered harmonies, and just enough distortion to keep things interesting.

Moran, a singer/songwriter and multi-instrumentalist currently based in St. John’s, teamed up with producer Jake Nicoll on this one. Nicoll’s no stranger to shaping standout sounds—his innovative production work helped earn Kelly McMichael Polaris Prize nominations in both 2022 and 2025. That touch is felt here too — it’s polished in all the right places.

There’s a warmth to Big Ravine, a sun-bleached vibe that makes it a solid summer listen. But underneath the shimmer, there’s a thread of melancholy—lyrics that hint at the people we leave behind when we move on or move away. “The balance after what’s withdrawn / wasn’t worth the pain of moving on,” Moran sings, eloquently putting words to a feeling most of us have brushed up against at one point or another.

All in all, Big Ravine feels like a well-crafted nod to yesterday that sits quite happily in the here and now. The track is available right now — check it out, and add it to your summer playlist!

I’m obsessed with music from Newfoundland and Labrador…

It’s fresh, wild, and full of surprises. The artists here are pumping out so much new stuff, it’s hard to keep up. So, I started a playlist of my faves—tons of genres, but the only rule is they’re local and totally repeat-worthy. I update it regularly, so follow along (on Spotify, Apple Music or Youtube).

Trust me, there’s a ton of good stuff coming your way.