New Zealand's electronic musician Rosy Parlane,
a member of Thela with Dean Roberts and Dion Workman,
focused on noisescapes for digital melodic drones, an art that he refined via
the tentative #1-4 (Sigma Editions, 1998), containing seven untitled pieces that sounded like mere experiments,
and the six meditations of Getxo (Sigma, 2001).
The mature accomplishments of his career were
the languid and cinematic three-movement symphonies Iris (2004) and
Jessamine (Touch, 2006) that emanated a sense of calm and harmony
made more humane by an underworld of microscopic events.
The first droning movement of Iris is jarring and turbulent and
after six minutes it is attacked by a swarm of chirping metallic birds
that slowly mutates into a pack of furrying metallic mice.
The longer second movement is a bit less cohesive, especially after it drops
the alien pulsation of the beginning.
The first movement of Jessamine sets in motion a harsh resonance
(Marcel Bear playing a saw) that morphs into a monk-like "om" and then
disintegrates into a jelly of glitches and dissonances.
The "om" theme returns in the second movement, that features
with Tetuzi Akiyama on "resonator guitar with samurai sword and contact microphones"; except that the
buzzing and rumbling is quickly buried under an abrasive whirr.
and then an ominous vortex of evil sounds swallows the remote echo of
temple bells. The piece is at least six minutes too long.
The third movement, that features the contribution of several guitarists,
intones another "om" but the goal of the piece is actually to simply
pile up as many guitar distortions as possible until the sound is deafening.
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