Equally composing for both contemporary concert and electroacoustic mediums, Jason Matthew Malli employs an aesthetic exploring the redistribution of musical elements and properties within the realm of structural prioritization. In his concert compositions, non-temporal jurisdiction practices, common in free improvisation, merge as sound masses do in electroacoustic music. His process aims to expand and contract minimal and microcosmic gestures inside broader contexts of timbre, time, spectrum, and perception as exemplified by Toward Syzygy for Percussion Trio.
Motetus Obscura for Chamber Ensemble and Electronics features strictly composed sections complemented by improvisational passages assigning matrices of choices to performers to freely alter tempo contrapuntally against the ensemble. This process allows for workflows similar to his process for using electronics in both fixed media and live digital processing environments. Malli’s pre-recorded and live instrument sounds often suggest folkloric tunes or ancient melismata within new abstract formulations.
Enter into the listening experiences of Chimaera for Solo Violin, The Delightful Garden and Massive Energetic Shift 040916 for haunting quarter-tone passages. Malli’s recent works are a return to vocal, instrumental, and digital alternative scales and tonalities and his desire to stretch pitch beyond and into fractal and dimensional imaginations. Per aspera ad astra, consubstantial, Tempus fugit, and incarnate mix digitally-processed instruments and voices with analog and granular synthesis sometimes employing generative and algorithmic considerations.