A SONG WE DESTROY TO SPIN AGAIN: “Full of tumult and change, the sound of emerging from that shielded state… its sense of slowly accumulating melancholy and grief occasionally registering like a movement from Ingram Marshall’s ‘Fog Tropes / Gradual Requiem’. Stunning.”
Electronic Sound Magazine

A SONG WE DESTROY TO SPIN AGAIN: "A Song We Destroy to Spin Again is a gorgeous mini-symphony...Humanity needs more tales such as this to keep us all afloat. Just as the song has been destroyed, reevaluated and returned to life, society may rise from its ashes if suffused with enough hopeful, positive imagination"
A Closer Listen

RIME: Live recording of improvisation with saxophonist Tony Bevan: Moore uses pedals to layer melodic fragments over textural drones….There’s some beautifully sensitive duo playing, where lyrical phrases emerge from sustained tonal clusters. Elsewhere, it gets pretty gnarly, with Moore's distorted viola and Bevan's breathy slobber conjuring images of a steel mill sinking into a stormy ocean. The final section is stunning, with Bevan's grainy soprano saxophone soaring and braying over Moore's ghostly orchestra.
The List ★★★★★

Supporting Haiku Salut at the Blue Arrow, Glasgow: Support came in the form of WOLF, Glasgow-based musician Kim Moore, a fine warm up pre-Haiku Salut. Performing soundscapes with titles such as Blood Moon and Glacier, there was an atmospheric flavour to Kim’s music, WOLF was a tremendous support, admittedly at one point using the reverb from the amps to add to her sound, in an improvised fashion, and Haiku Salut, well, they took the rod that WOLF had handed them and heightened the aural atmosphere in that small venue. It was truly a splendid evening for music.
The Fountain

2016, Supporting Rosie Lowe: WOLF is Kim Moore, a Glasgow based musician who transforms the violin into a weapon of ear-drum de struction. Moore takes to the stage without ceremony, but quickly sets about looping strings and vocals into a rolling sea of total noise – it’s challenging, but totally amazing. Sweeping, intense atmospherics fill the length of the Long Room as Moore leaps from pedals to buttons, and back to her violin bow. She plays us a new tune, explaining that she only finished the night before – it’s called Acid Tongues (I think) and it sounds every inch as accomplished, with an eerie, electronic psychedelia.
Hidden Door

NOSEDIVE : The Barbican Kim Moore’s music, plangent and throbbing with electro beats, links the scenarios like a fine, glittering chain.
The Times ★★★★

NOSEDIVE : The Barbican Kim Moore’s swelling, beating soundscape felt like an alarm in slow motion. So drawn out you can’t grasp it straight away, and the meaning has been distorted in the time it’s taken to play out.
Exeunt Magazine

TIGER : Barrowland Ballet Kim Moore’s live sound and music gives the Tiger a vocal presence while enhancing the big emotional en gagement of both pieces
The Stage