Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, writer and teacher based in Seattle. Her voice as a cellist, amplified or acoustic is full, textured, committed and original. Her restless curiosity drifts easily across borders that separate genre, discipline, time and geography.The playing on creekside: solo cello explores margins and unstable thresholds; the amplified sound has a spatial airiness, the acoustic playing sounds full. In evidence are experiments regarding how nature produces multidimensional sounds from simple measures, life in a still-wild place, voices, water, weather, rock bands, rhythm sections, chamber music, echoes, field recordings insects, plants, folk songs and myths. 　　 　　Lori brings a technical and intuitive understanding to the challenges of amplifying an acoustic instrument; in music as in life one does well to turn problems into assets. Through tours with bands including Nirvana and Earth, and decades of work in a town that loves heavy music and feedback her voice as a cellist includes, among other things, a finely wrought raw, electric distortion, often pushed slightly beyond control. Delicate chaos layers and weaves with a precision that’s arrived at from work in radically diverse disciplines including classical, popular and folk musics from many parts of the world, and from years of working with a long list of illustrious collaborators. 　　 　　creekside: solo cello is the follow-up to Lori’s 2013 release Film Scores on Sub Rosa. That 10 track album, featuring Dylan Carlson, Stuart Dempster, Jessika Kenney and Tara Jane Oneil, is a compilation of Goldston’s live and studio soundtracks for films by modern and early silent films by Yasujiro Ozu, Carl Dreyer, Vanessa Renwick, Linas Philips and Britta Johnson. 　　 　　With the invitation from Eric Isaacson to make an LP for Mississippi Records Lori finds herself in familiar, beloved company with reissues of punk, folk, international LPs; for earlier projects, including the Black Cat Orchestra and Spectratone International, she studied, transcribed and arranged music from old and new recordings, hunting through libraries, yard sales and friends’ collections. creekside offers itself as a message in a bottle, a remark in the continuum of conversations between musicians and listeners reporting from their rooms in their corners of the world. Here we have the ghostly imprint of two late summer days in a room near a creek in the northwest corner of the United States, Mell Dettmer’s Aleph Studio.