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2CD
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XI 149CD
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With Visitations and Revisitations, Matt Rogalsky continues lines of work that seem to inevitably revolve around explorations and honoring of place, people, and memory. Ambient, expansive and immersive, twelve new songs without words invite listeners on travels through spectral sound worlds. All the compositions combine elements of acoustic and electronic sound, where the electronic sound is often derived from underlying acoustic sources which often remain unheard while their liminal, spectral qualities are evoked in new ways. On this collection, two "Visitations" bracket ten "Revisitations." Each "Revisitation" identified by a letter is an investigation into the work of a composer or musician whose work has meant much to Rogalsky: "The 'Revisitations' all function as homage compositions, in an alphabetical series of 26, where each letter references a composer whose work has touched me, and whose sounds I have spectrally explored in a new response piece." The "Visitations" are different from the "Revisitations" in their referencing of intensely personal conditions: one derives from the resonances of a family upright piano which came from Rogalsky's maternal side, and one evokes experiences in movement, sound and community around the base of Sacred Buffalo Guardian Mountain in Banff Alberta. The range of influences Rogalsky explores on Visitations and Revisitations span from musicians and poets in his local sphere, to internationally well-known contemporary and historical figures in music and sound. Some sources are revealed and others kept private as a guessing game for listeners. A number of the tracks on the album are based in recordings of live performances while others are purely studio compositions. Matt Rogalsky is based in Kingston/Katarokwi, in Ontario Canada where he runs the Sonic Arts Studio at Queen's University. He previously released a double CD album Memory Like Water on XI Records in 2006 (XI 131CD).
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2CD
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XI 131CD
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2006 release. Two CDs for the price of one. "The six (or seven) pieces on these CDs document live performance works which span 1996 to 2006. 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. 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. The three works titled Kash are all related in that they employ the same original software instrument (of that name) initially developed in 2001 and still in use at the time of this release. 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"). Kash (vln) is a collaborative improvisation between myself and violinist Jane Henry. Sprawl (western magnetics) is a document of a live solo performance. Transform is a manipulation of a live radio signal, tuned to any music station; the frequency content of the source radio program is brought out by a series of tunable delays which create strong harmonic resonances."
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