Sunday, September 20, 2020
«« »»
Title: memory like water
Format: CDx2 (double CD)
Label: Xi records (@)
Rated: *****
I’ve found this work interesting from the very first night I’ve given it a try, not only for the ideas behind Rogalsky’s work, but for the fact its musically deep, cerebral but also really evocative. This guy works on/with software instruments and he generally collaborates with at least one performer, be it human or a radio above all in the first cd. The average length of every suite is around twenty minutes except for the longest one (half an hour) and the shortest (thirteen minutes about), it has to do with the fact all of the material here featured comes from live performances which span from 1996 to the present. No surprises if you have really cold, unmelodic segments and highly evocative melodies that sink your head in your pillow after having given it your ears. While passing from sound art to quasi-ambient music this artist demonstrates he’s learnt by heart the lesson of drone-masters, of the "music-concrete" fathers and the and that of minimalists but he has gone beyond mere imitation. Yes, I really think Rogalsky has its own style even when evolving around ideas quite popular in the experimental scene. He always takes his time to go deep to the core of the track and that’s also why he drives slowly in and out of every sound crescendo/diminuendo. I’ve read he’s been/is involved with installations and you could have easily guessed just by hearing the material I mean that’s the cut. "Memory like water" is composed of two cd: the first contains Matt’s performances with some guests (mainly his musician brothers), the second cd instead features exclusively solo-material. I was tented to write the first piece of plastic is preminently more melodic than the second, but it’s not correct, he alternates cold heavy layers to lyrical evocative ambiences where you have simple melodies played with instruments or via what I assume are computer-drones. Sometimes I’ve had the impression Rogalsky was really close to John Grznich and Seth Nehil augmented of some melodies, but they’re more monumental, heavier and in some way less static (a subtle staticness here is 100% intentional). If compared to the two artists afore mentioned this musician is closer to sound art meets minimalism and there’s no trace of heavy ambient near to industrial. If I were the freak I’m not I’d comment Rogalsky’s music is more trippy than "Set The Controls For The Heart Of The Sun" but by saying that it would be too reductive alas forget it.


< Previous Review | Next Review >