The technology of digital editing has changed the way composer-musicians operate in a huge way. To get the musical results Noah Creshevsky does in Rounded with a Sleep (Pogus 21063-2) would probably have taken years with the old analog splicing block, razor blade and magnetic tape method used in Cromagnon times (even in the '60s-'70s). But the advent of samplers and the digital workstation has changed all of that. Regardless of method, however, what doesn't change is the musical quality of the mind. Maestro Creshevsky makes superior sound poems no matter what means he uses to get them.
The lively Pogus disk contains seven works, most all utilizing sound segments of avant classical instruments and vocalists in performance, sampled and arranged into vitally alive collages. One work features vocals only.
What Creshevsky looks to create are horizontally dense thickets of timbrally fascinating juxtapositions--more note oriented that noise or sound oriented.
What he gives us are electroacoustic works that for the most part retain instrument performance purity, chopped and resituated in ways that provide a superhuman sort of contrapuntal mix.
It works extraordinarily well and bears many repeated listens. For this is full-fledged composition more than experimentation.
It is music of importance and beautiful to hear as well. Listen to it and you'll be rocketed to interesting places.
I appreciate your review of Rounded With a Sleep. Thank you for taking the time to listen, and for writing about my music with insight and generosity of spirit.
ReplyDeleteMy pleasure Noah. Your music is much appreciated. I hope to hear much more of it in future. I know how hard it is to make music that good!
ReplyDeleteAll the best,
Grego