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One would imagine that it would be dull listening to a whole piece in one flat generic midi piano sound with nothing else. But this piece grabs you completely from the first moment. It’s melodic, harmonic and rhythmic expression are so intense that you immediately forget the context of this midi situation. It is also a naughty wink to the Darmstadt School - in Darmstadt they tried to “purify” an idea and to protect its purity from the composer’s emotions that might interrupt the complete composition. And in a similar manner - in this piece Rogalski rids himself of the emotion of a human performer, allowing the ideas to flow uninterrupted. The instrument is merely a digital code - and the player is inhuman - so the piece is supposedly free from excess emotional baggage and the means of delivering the message become transparent. You will find yourself totally immersed in this great drama, laughter and cry and what not - all that is created in a split of a second, constantly shapeshifting in the most extraordinary ways. The narrative is told through tempo. A whole universe of endless tambers and moods created with a masters’ hand with just half-steps of midi piano, and tempo. Characters, stories, ups and downs and sides, such a rich emotional universe - and what not. If I would be forced to fit this album into a genre I would say it is Street music-box music. It could also be referred to as a pure text score. As Plato’s ideal world in pitch. The perfect intention of the composer, without interruptions of limited human performance level. An incredibly unique and peculiar piece of music that passes by so quickly like a honey-suckle bird in a garden . When the piece is researched more thoroughly it unfolds into a very complex and clever musical theoretical system, a luscious colourful fruit that keeps opening up and evolving, creating a fascinating multi layered universe of images and stories and emotions. There is just one other element in the album aside from this e.piano generic tone, and that is a human voice - one of a man’s, and one of a woman’s. For me, the composer’s decision to add these voices, and totally break the rigid universe he has established in the piece - reminds me of what Stravinsky said about his own compositional process - he would plan a perfect system and eventually add a layer that is illogical and goes against his chosen system just because it felt right in some other way, because after all its music, and not science. This action takes the piece further, to a bubbling and primal space. Adding this element that perhaps goes against all he has built up to that point in the piece, undermining his own logic, letting some urges move the plot forward to create an exciting chaos, a space for surprises, for miracles. Serge is a brilliant orchestrator and his extraordinary arrangement and harmonisation abilities succeed to stand out even in this midi universe he has limited himself to. As the harmonies are so rich and expressive the piece seems to shine in endless colours. The fact that it’s a machine on the other side - performing his music - allows serge to treat phrases in a new way, start in one place and end in another one. Like a path in the hills with surprising twists and turns. like a musical RICK AND MORTY in a monochromatic world. There is another exciting and confusing contradiction in this piece - a thermal one: On one hand, we have the midi sound which is very cold, and on the other - the warm temperature of the tempo and pitch which are treated in such a human, funny surprising manner that it becomes the complete opposite of robotic music as we know it. I imagine that if this piece was a woman, she would be a sassy woman with shiny fake gold earrings and necklace wearing a short mini dress and a leopard pattern coat with very high heels living in Marseille. Thanks to all this mentioned above (and much more that I did not yet mention..) the piece is a thrilling, intimate, emotional, bizarre and intelligent piece of music that is rebelling against any sort of box one might try to fit it in.