Reich takes the infinite canons or rounds of the kindergarten - those never ending renditions of the likes of Three Blind Mice and Frère Jacques - and uses contrapuntal phasing to bring emotion to bear on the driving logic of the melody. The two early “shock” tape pieces here – It’s Gonna Rain and Come Out – offer nothing less than different ways of interpreting sound data. The boundaries between sounds shift and the listener is left to reorganise the psychoacoustic fragments. As one tape loop slips slightly behind another identical loop, spatial notions of forwards, backwards, up and down merge and reverse. On the other keyboard pieces, the form is still canonic and the fixed pulse more insistent.
Causes célèbres in their day, the works still have the power to disorientate and, in the right setting, surrender endless interpretations.
Oddi wrth y brawd
rain gonna come