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The improvised live electronic music of
Canadian composer Matt Rogalsky (1966)
focuses on the invisible and the inaudible (e.g., radio silence).
His double-disc Memory Like Water (Xperimental Intermedia, 2006)
collects seven live performances from 1996 to 2005.
The 13-minute Resonate (noise) and the
26-minute Resonate (tones) use software to create a layered droning
flow of sound. The first part delves into the quantum lattice of white noise,
whereas the second (much friendlier) part weaves a landscape of shimmering
sustained notes that keeps mutating and seems to absorb a plethora of influences, from Terry Riley's In C to Pachelbel's Canon.
"Kash" is a software program that Rogalsky developed in 2001 in order to interact with live performers. Three examples of "Kash" performance are included:
the 23-minute Kash (violin) that "uses" violinist Jane Henry,
the 14-minute Kash (guitars) with two steel guitars,
and the 24-minute Kash (radios) that uses two radios tuned to talk shows.
These are far more subtle and subliminal works, in which Rogalsky toys with
fictitious microtonal sounds in a very sparse and desolate soundscape.
Another kind of software, "Sprawl", allows Rogalsky to operate on densely
layered structures, such as the 23-minute Sprawl (western magnetics),
that yields floating clusters similar to the ones that fuel ambient and cosmic music.
Finally, the 31-minute Transform disintegrates the input from
radios tuned to music programming, slowly transforming it into a wild cacophony
of glissandos.
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