Each of the 15 examples included here is unique in itself. The range of sound sources and corresponding atmospherics can vary widely. So we get solo marimba, a gamelan instrument, fretless electric guitar, the voice-patter of a child or a group of adolescents saying specific words to form a contrapuntal tapestry via electronic alteration, a chamber choral number by New York Voices, and so forth.
Some utilize noise or unpitched sounds, others are in a sort of radical tonality mode, still others utilize extra-diatonic tones. All are situated within a spectrum of a postmodern-meets-classical-modernist diversity.
There is much that piques your ears via sheer inventive imagination. Many of the canons grow in stature as you listen repeatedly. Some form interludic segmentation as a part of the whole, and perhaps have something less than iconic interest in themselves after many hearings.
Polansky and his collaborators/participants manage to redefine how we think of canonical form and in the process give us a lively potpourri of brief pieces that encapsule a diverse array of possibilities and keep the ears interested.
It may not be a landmark offering of the new century but it grabs you and sends you over a vast terrain of sound landscapes with a consistently imaginative approach. It is at all times an interesting and provocative listen.