One of my friends, Jeremy Sagala, has recently released an album of his chamber and electronic works called Through Autumn into Winter. The music is rich with gestures and thick harmonies. Each piece flows through fluid and coherent forms without being derivative or hard to track. Quality orchestration abounds, no more so than in Tenebrae (pierrot+percussion, a commission from NYNME). Theses are all compositions of intense craftsmanship and nuance, but put in a package that is comparatively easy to digest as a listener. Jeremy’s harmonic language is spectral-ish. Instead of fixating on one single sonic space for a work he maps spectral paths through intriguing progressions. The end result is a compelling and expansive-yet-forward-moving pitch dialectic.
All of the works on the disc, be they electronic or not, are realized with virtual instruments. This works extremely well on on tracks like Jukai for harpsichord, recorder, and live electronics where the live instruments have a rather seamless blend with the electronic world. Le parallele est devenu oblique (saxophone, piano, and electronics) and the title track (flute, piano, and electronics) are a bit more obvious about their virtual nature but serve as excellent doppelgangers. If nothing else, these virtual recordings should inspire many to perform and record an “almost unplugged” version of this music.
(original review posted here)