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Title:  MEMORY LIKE WATER Artist:  Matt Rogalsky Label:  XI Records Format:  2 X CD Price:  € 13.80   Mp3 samples:   1   2

Title Description:
The six (or seven) pieces on these CDs document live performance works which
span 1996 to the present. Most of the solo pieces are structured
improvisations, in that they have a broad form which is repeated from
performance to performance while the detail is always quite different. The
collaborative pieces are less formalized and depend hugely upon the input of
my co-performers. I am very grateful to have worked with them.
Conceived as two halves of a single piece, Resonate (noise) and Resonate
(tones) seamlessly crossfade from one to the other. Both are sustained-sound
pieces, the first exploring noise textures, the second exploring dense,
quasi-orchestral harmonic territory. Both pieces employ original software
which generates sound using a type of granular synthesis, triggering sampled
sources many hundreds of times per second.
The three works entitled Kash are all related in that they employ the
same original software instrument (of that name) initially developed in 2001
and still in use today. This software enables me to interact with live
performers (or other sound sources) in fluid and lively improvisational
situations, accumulating and processing fragments of low-level sounds (the
"spaces between the notes"). The three performances with my Kash instrument
represented here show how very different the outcomes can be, depending on
who (or what) my co-performers are. In each case, all the electronic sound
is derived from their real-time input.
Kash (vln) is a collaborative improvisation between myself and violinist
Jane Henry, recorded live. Jane is a composer-performer whose performance
techniques involve, among other things, use of multiple violin bows made of
different abrasive materials. Kash (gtrs) is a live studio recording
featuring my brothers Benjamin and Luke Rogalsky on steel-string acoustic
guitars. This performance was an improvisation based on a few suggestions as
to overall structure. Kash (radios) is a live recording made before an
audience at Experimental Intermedia in New York City on March 8 2001. In
this case, the "performers" with whom I am interacting are two radios, tuned
to talk stations. The radios are faintly heard at the beginning of the
piece, but soon the direct sound disappears and only the processed sound
remains.

Vital Review: