“I’m interested in harmonic complexity as a kind of blown-out timbral dimension that can tell an alternate story while other things are going on in a musical piece… like, if we use terms like lines or patterns when we refer to melody and rhythm, a complex system of interacting overtones is more like the impossible staircase of M.C. Escher, yes? Because it can lead you through a piece in all sorts of directions depending on where your point of entry is or how you focus your listening. And electronic and electroacoustic music is especially well suited to working within this dimension.”
Read an interview with Tara Rodgers by Ted Coffey for the Society for Electroacoustic Music in the United States (SEAMUS) on composing across genres, the resonance of Pink Noises 10 years out, and working with electronic musical instruments, including the ARP 2500.