Matt Rogalsky
(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )

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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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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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