Selected Realities - OndaRock Review

Review from Italian Music/Culture site OndaRock

Apologies for the Google translate.... but you should get the idea

ArtStart 2013

'Chris Watson Masterclass @ The Wired Lab, 2009: Image by Somaya Langley 

I am happy to say that in 2013 I will be one of the ArtStart recipients, as granted by the Australia Council for the Arts. I can't wait to get started on my plans which will involve heading to France and the UK around October for a number of intensive work developments.

The most exciting development to date - is the opportunity to work under the guidance and expertise of field recordist, Chris Watson. I was fortunate enough to meet Chris at a masterclass workshop at The Wired Lab, in rural South/West NSW, 2009. While I was impressed by his craftsmanship, I think it was his completely open dedication and love of his practice and conveyed respect and appreciation of sound that really knocked me over. While I was (and still consider myself) an amateur in the art of field recordings, Chris Watson was as approachable, humble and as generous with his time as if I was a fellow world-renowned  practitioner. The plan for the travel project is still developing but I hope to gather sounds under his teachings and then take them on to another institute for further developments - will see how I go and keep you posted.

Many thanks to the council for this opportunity. I hope to make the most of such an honor.

Selected Realities - Available in Australia

'Selected Realities' is now available for purchase within Australia.

Have a look HERE for more details including the media release. 

Bank transfer is also available - please EMAIL me for the details;

Paypal price includes shipping world wide

KUNSTRADIO ORF ö1: Tattered Kaylor program

This Sunday the 11th of November at 23:03pm in Vienna, Austria (CET), KunstRadio - the radio for sound art and experimental music on channel ö1(ORF/Austrian Public Broadcasting Corporation) will be broadcasting their program that focuses on my work as Tattered Kaylor. 

For those within Austria details are...

Date: Sunday 11th of November

Time: 23:03 - 23:59

Frequency: Tune into channel ö1 on 92.0 FM

For those outside of Austria you can hear the live stream HERE.

For those worldwide who cannot make the broadcast or live stream time you are able to listen to the program at any time as uploaded HERE.

*Please note, this program upload will only be available for a limited number of days.

For those in Sydney Australia the live stream times will be.... 

Date: Monday 12th of November

Time: 09:03 - 09:59am

Frequency: Live stream from HERE

See more information on the Kunstradio website HERE and HERE

Aspects that are covered within the program include the work I commenced at Kunstradio during my residency there and completed specifically for their radio program, the work I presented for the Moozak Festival in September this year, the release, 'Selected Realities' and interviews with both myself and one of the creators behind the Moozak Label, Clemens Hausch. 

Selected Realities - Review in De:Bug issue #166

'Selected Realities', has a review in De:Bug #166. Translation in English below..........

"It is the perception of sound and thus accompanied perception of space and time which is the topic for Australian sound artist Tessa Elieff, and this combination of CD and DVD presents a good impression on how she is approaching this. Compositions made from sounds of Tibetan singing bowls or samples of singing birds only form the first level, followed by a second in which her sophisticated and diverse playback-recording-mix-procedure is suspended within the play of resonances in city-typical space constellations: E.G. within a six-storey stairwell or a waste water canal system, whose effects can be experienced on the 5.1-Surround DVD. The five concerned works including one live recording, often leave the entire sound experience with some documentary distance: You would just like to be at the locations yourself. However, a full compensation is given by the concluding quarter-hour audio/visual composition of recordings from the construction of a theatre lifting platform - an engaging symphony of heavy steel in cold light and geometrical dance."

Kunst Radio: Artist Residency

The last three days spent in Vienna were dedicated to a residency in the studios of Austria's broadcasting company, 'ORF', working on material for the 25 year old radio program, 'Kunst Radio'. Program editor, Elisabeth Zimmermann, seeks out and develops Kunst Radio programs, ensuring they focus on sound art and experimental radio pieces. I was extremely grateful to Clemens Hausch from Moozak, for organising the simpatico between myself and Kunst Radio and to Elisabeth, for so generously making available the studio resources and her interest in my work. 

It is an interesting concept - that of creating sound works that are to be invited into the intimate spaces of their listeners. Unlike a live performance or an installation, the listener will be allowing the sounds to fill their undisclosed locations, joining them in their current course of life, enhancing the present experience that is already in motion - its place preset by the listener themselves. There is no social demand on the experience-ee in that they are not required to attend a place or a time to witness such an event, nor engage in polite social chatter or be quiet as the sounds begin. They are master of the listening experience and can tailor it to suit their happenstance and not vise versa. 

It seemed natural that I would ask artists from the Moozak festival if they would be interested in me recording their sounds to use as source material for my own compositions for the Kunst Radio program.  I have not recorded another artists installations before as source material and I have to admit, I was a little nervous at how to commence the process. I felt it was important that I made clear to each artist that I would be recording their sounds, with full credit given to their original works as the source material but, that I myself, would be creating my own work anew from the sounds that I would capture!

I selected two artists whose sounds are quite different yet I feel compliment each other. The final compositions, (at this point in time) will consist of four pieces - two for each artists works. Each artist's work will be represented by a relatively, 'Untouched' recording of their installations - presenting their works as true to life as possible and also, my own composition, created through using these recordings as source material, to process/construct and spatialize as possible. Kunst Radio has the facilities to playback 5.1 surround pieces on air (folded down to stereo) and so my compositions will be in surround.

The first artist whose work I recorded is, Andreas Trobollowitsch with his piece titled, 'Minigit'. He describes the installation as follows,

:: Andreas Trobollowitsch, 'Minigit' @ Moozak Festival, 2012 ::

'Spatial sound installation for four acoustic guitars on the wall.

Four converted ventilators that use cello-bow hair instead of propellors set the strongs into oscillation.

Soundscapes arise through the soft, smooth pickings of the guitar strings by the circling cellobow hair, the permanently modifying overtone layers are reminiscent of an electronically generated sound aesthetic'

The recording of this work was kept quite simple and true to space in that I recorded it while it was installed at the Moozak Festival. The recordings themselves turned out very well in that they blend the musical tones of the installation with the sound of the environment beautifully. You can hear the voices of the attendees and audio snippets of other installations behind the closer recordings of, 'Minigit'. I paid particular attention to the mechanical rattlings and scrapings of the fan rotation mechanism used to spin the cellobow hair that strikes the guitar's strings. These details turned out surprisingly well, with the microphones picking up such delicate sounds whilst also capturing the general room ambience.

Microphones: DPA 4060 (Matched pair).

Configuration: Stereo omni

Positioning: Stereo pairs were placed in each gap between guitars for 2min recording of each space as well as a general room recording with Mics positioned 1meter  - central - infront of the installation.

The second artist is Uli Kuehn with his two installations, FEEDBACK MACHINE and ROBOT. I am not 100% sure that these are the correct titles of the pieces but will talk to Uli and find out....

The recording of Uli's work was done at the Studio's of ORF which enabled me to grab more 'sound proof' recordings. I'm still not sure if this is a positive or a negative as I found the room sounds so appealing in the 'Minigit' recordings nevertheless - I am happy with the outcomes.

:: Uli Kuehn, ROBOT (innards) @ Moozak Festival, 2012 ::

ROBOT consists of Uli's own circuit creation utilising four oscillating square sound waves as controlled and layered by four rotating pots installed on the front of an old 'Mego" brand toy robot (hence, why I'm referring to it as ROBOT). The circuitry schematics are developed and created by Uli himself and the layering of sounds that are made possible by his device are millions. They all contain that feel of old analog 8 bit (pleasing) whine and sounded considerably dense when played back through speakers. The most delicate tweak of any of the four turning pots can alter the outputting tone dramatically, affecting its timbre, volume and texture.

Recording format: Line out (microphones not necessary)

Configuration: Mono

:: Recording of Uli's FEEDBACK MACHINE in process at the studios for Kunst Radio. Image by Uli Kuehn ::

FEEDBACK MACHINE consists of a small microphone placed on the end of a rising and falling lever (built out of Lego). This mic faces a small computer speaker that is outputting the microphone feed, creating a feedback loop when the microphone is close enough to the speaker. Using settings in arduino, the lever rises when the feedback level drops (bringing the mic closer to the speaker - feeding the loop) and falls once the feedback volume has escalated to a certain level, creating a musical seesaw sound, delicate yet still piercing in its sinetone-esk feedback output. This piece not only generated the tonal output of the feedback loop but also, the intriguing clicks and scrapes of the small lever mechanism as it dutifully responded to its commands. Studio sound guru and technician Martin Leitner captured the trivial sonic details using his astoundingly completely waterproof Aaton Cantar and Schoeps microphones.

Microphones: Schoeps (matched pair)

Configuration: Stereo cardioid
Positioning: One microphone was focussed on the feedback sounds generated by the speaker and the other, on the mechanical sounds of the lever. For Martin's mechanism-only recordings, both microphones were focussed on different aspects of the level.

Keep tuned for more details as the work unfolds. The next step will be to take the sounds back to Australia and work on them in my own studio after commencing the process at ORF. 

Many thanks to Martin Leitner for his generous creative input and assistance, to Uli Kuehn and Andreas Trobollowitsch  for their inspirational works and contribution of sounds, to Clemens Hausch for the discovery and alignment of such an opportunity with Kunst Radio and of course - to Elisabeth Zimmermann, for her genuine interest and commitment to the genres of sound art and experimental music - bringing them into the homes and intimate spaces of her listeners in Austria.

'Selected Realities' Album Launch: Moozak 2012

:: 'Samadhi Mechanism' - live still ::

:: 'Samadhi Mechanism' - live still :: Images by Lennart Katzwinkel ::

Friday the 21st September was the opening night for the Moozak Festival, 2012 and the launch of my debut album. I had the absolute pleasure of being sick with (debateably) the worst headcold this side of the galaxy. Other than that - it was a blast.... 

I do feel the need to clarify a few things regarding my work - particularly, 'Samadhi Mechanism', (the audio visual piece that I presented on the night), as I was asked more than a few times about my work process and the source of the material, both Audio and Visual.

'Samadhi Mechanism', in it's entirety was created by me alone.

I recorded the sounds myself with my own equipment and using techniques as developed throughout my work. The only exception to the recordings is the melody - this is my own custom setting on Absynth (not a field recording). I recorded the visual material also. If I do collaborate or find source material elsewhere I am always quick to specify this fact and point to the original artist - that transparency is important to me - especially as sampling sounds and visual data can be so common amongst art practices (but not mine). Personally - i think it's worth clarifying these grey areas and important to credit those where credit is due.

BACK TO THE FESTIVAL................

Joys of the night included discovering local Viennese artists such as Peter Koger (No input visual mixing desk) and MAD (Fischer & Vicard & Kern) with their gritty conglomerative transfigurations of Kraut rock, free jazz, contemporary classical and improvisation. Other impressive acts included 'The Oscillation' with visuals by Julian Hand; this combination made the 60's themselves look like the 80's as they draped their stage in oil slide projections and psychedelic inspired kaleidoscope patterns. Throughout the nights performances there were a number of sound/visual installations surrounding the main area, to keep the punters interested and intrigued between acts. I must say that I love the combination of installation and live performance. Most festivals do not have the courage or the love of the arts to go to such lengths for only a couple of nights and it was impressive to see that Moozak want to interpret their label and their festivals in such a way. 

Catching up with the three behind Moozak, Clemens, Gerald and Ben, on Sunday night - they all looked to be stunned, exhausted and blissful. We did what all people do when in Austria and celebrating - ate schnitzel and drank beer and then rumor has it - they finally got some sleep..... I grabbed a copy of Moozak release 002 - which has sonic creations by Clemens and Gerald in it's descriptions. I am looking forward to listening to it back in Australia with my cats.

Welcome to Moozak and Vienna.....

:: 'This Mortal coil', 'It'll end in tears' album cover, 1984 ::

Have arrived in Vienna, dragging bags of microphones, socks, spools of copper, power adapters and a relentless ache of focus on sound. It's so easy to submerge yourself in creating and your medium of choice but such a nightmare pulling yourself out again. For now, I'll let myself live the dream and continue deepening the dive....

Preparations for the Moozak Festival (from my end) are well underway. Last post was written from the equator between imagined plans and actual reality. Thankfully, I made it to the other side, ironing out buggs and familiarizing myself with my new programmed controllers so as to work on intuition and ignore the thought of body process. Let's see how it comes together.....

I have met two of the men behind the Moozak legacy. Clemens Hausch and Gerald Krist. It's been humbly touching to meet fellow artists, halfway across the globe who are as consumed by similar passions as yourself - who have that  look of absolute conviction behind their eyes that you know so well. I like not having to explain what I do and why - it's an unspoken code - a shared disposition that keeps me ticking over in the day to day and one with common struggles.

The first night of Vienna was spent with Gerald, his loungeroom tropical underwater ecosystem, a bottle of wine, what could possibly be the 'best' custom-built stereo system I have ever experienced and his vinyl collection. 'Do you want to choose something to listen to,' he says. The three of us walk to his wall of records. I see a familiar album cover and pull out a Spezialmaterial compilation, 'I have this' I say. He grins at the wall and keeps searching. I don't try to find the sounds but leave it to him. I could point out what I know and every now and then I let out a 'Ahh' but there is no need for me to search and really, I am not sure what to look for. He grasps a handful of records and says, 'now we listen'. 

The first and last album I remember is by, 'This Mortal Coil'. It cuts to the bone and reminds me that I am allowed to use more than just raw sounds in my music. I envy those who have the nerve to put words to melody...... We keep talking about our common passions. Music, speakers, the hardships of creating events such as 'Moozak' and the joys that make us do so regardless. Len and Gerald talk to each other in German and the lilting rhythm of their voices merge into room and my experience is complete. The memory is sealed - not to be altered - senses are filled and the time and place has become a uneditable past that will morph with my memory but always stay the same. Gerald says goodbye and leaves and i hear the words of, 'This Mortal Coil' fade with him and the click of the door latch.

Samadhi Mechanism: Live for Moozak

I can't remember the last time I left the house. I did go to my day job at some point in the hazy past but that's all it's become - hayyyyyzeeeeeeeee. Moozak is fast approaching and I have managed to reconfigure my control environment for this piece. The Behringer BCR2000 was beginning to look a little tired and as per all of us in the gadgets, gizmos, apps and widgets age - I've come to expect more.

The system I will be using for Moozak involves the Jazz mutant ipad app, 'Lemur'. I remember when these came out as an all in one touch screen + software hardware module for a cool $5000 give or take. Oh did I want one. And wasn't Bjork the envy of us all when she used her fame and influence to buy the things dreams are made of and coerce the creators of the Reactable to part with their treasure. I wasn't Bjork and I didn't have $5000 + dollars. I was the very-uncool one in the corner trying to find a way - any way - to get my hands on a Jazz Mutant Lemur.

Fast forward about five years and my wish is granted - no longer do I have to save my 5 cent pieces for a piece of glorified hardware - I can just get the app for $50 (and that is one expensive app mind you.....) and an ipad that does cost enough to make make you retch a little but hey.... I gave up justifying gear money a long time ago....

The selected elements to bring Samadhi Mechanism to life are
1. Audiomulch
2. Code controller by Livid
3. Ipad running Lemur.

It was harder than expected - but then again, the first time with a new setup is always a little bumpy and seeing as the piece had already been created, it was not such a fun process, more just the hardwork of trying to make the system do what I had been fantasising about for 5 long years. I managed to get there in the end and the final patch that I implemented in Audiomulch will definitely be made use of - good and proper with double digit speaker systems at some point in the future (I've made that promise to myself....). I havent' had any major buggs yet that I haven't been able to fix and I must say - it makes me nervous. Really would prefer not to crash and burn in Vienna - would much prefer it at those gigs you play with the one guy in a trenchcoat sitting at the end of the bar watching you and you know he's not there to listen... Those gigs always go smoothly but the big ones seem to find an excuse to FREAKOUT.

Enough delusional rambling. I would like to sleep before I get on the plane so back to it I go. I wish you could be there and maybe you will. I'm at sleep deprived level where I can see my microphone cases moving out of the corner of my eye but dammitt!!! -  they stop as soon as I look right at'em.... crafty buggers....

Moozak Festival - Vienna 2012.

See you there for the long awaited album launch....

Samadhi Mechanism - Live performance

Volume (extended) - Live performance

A Moment.....

:: Reel to Reel at the NFSA ::

I had a moment today, where I realised that I had never threaded up a reel to reel tape......

A few months ago I was spending 14 hour days setting up systems based on the 'Latest Technology'. I had (and will have) lengthy discussions on why the Digico desks are so user friendly and why the Roland's are not.  About the algorithms behind Nexo speakers and how they need to be configured and hung at what degrees to each other for the sound waves to carry correctly and for the the space to sound the best it possibly can. About multicore - opticore and hardcore. About if dubstep is a 'real' genre and wether or not Skrillex is just a poormans Aphex Twin or a talent in his own right. I'd debate wether or not live midi control compared to real musicians and if midi could be classed as 'Live' anyway...??

I'd be treading water in the pool of method and technology.

Today it seems they over-lapped me...

touché

Welcome to Canberra.....

Time has been a precious commodity of late. After spending majority of the year planning, sitting, waiting - pieces of the puzzle are finally falling into place.

And of course - all at once - because where would the challenge be if it was all a realistically paced timeline...

Plans for the upcoming release at the Moozak festival in Vienna have been put on the back burner after a frantic move interstate and acquiring of a new, 'Day Job' - one that I have coveted for a while. After previous knock-backs the opportunity arose and I grabbed it. The position is as a Sound Archivist at the National Film and Sound Archive (NFSA) and is one considerable step closer to the artist's utopia where you can live, eat and create, based purely on your passions in your artform. Who would have thought that the lost night hours of listening to, 'Dreaming Daisies' (3D community radio) would provide me with priceless pieces of knowledge to reference some 20 years later? Can you think of a better way to spend your days other than accessing, collecting and collating the sonic past, present and future of your favoured sounds? Other than being trapped in a perpetual loop of collaboration with Autechre or field recording with Chris Watson and his family in Africa - I cannot...

The move came less than two months before I leave for France, Germany and Vienna and I must say I am a bit anxious about preparations for the live performance and album launch at the 'Moozak' festival. Details to come later but for now - I want to fill you in on my experience of the NFSA's vaults.

As luck would have it, my starting week in the new position was also the same week that fellow archivist Tamara Osicka, unwrapped a number of precious artefacts that had been carefully stored in the archive for number of decades. These items included original wax discs, metal mothers and stampers created by a gentleman called Stuart Booty, in the mid 1920's. Please see my definitions below.

Wax disc: This was the first medium used in a process that involved a series of mediums to create and duplicate recordings via cutting lathes. To record sounds, musicians would play into a large horn, which would amplify and channel the sound down the lathe's arm, to the cutting stylus attached. This stylus rested on the wax disc and worked much in the same way as a phonograph pickup but in reverse that is - feed audio in, get mechanical motion out meaning, as the sounds were 'read' by the cutting stylus, it transcribed them into a spiral groove on the wax disc.

Metal mother: The metal mother was the positive metal mould that could be plated to make a number of negative metal stampers. These stampers were then used to produce the shellac records.

Stuart Booty is an interesting character in Australia's recording history. He was an electrical engineer who also dedicated a number of years attempting to produce records in Australia - round about the 1920's onward. By this time he had built his own cutting lathe under his brand and record label, 'Vitavox'. At a time where record companies tended to record discs for mass production of pressings, Booty put his efforts into creating discs as a small, private operator, utilising his own skills and resources. He also had friendly relations with several classical and vocal artists of the age and made recordings of their works for private listening and even a few for public sale. As you can imagine - there were not many Australian record labels at this time and, 'Vitavox', was one of Australia's earliest. Booty was a bit of a pioneer in the recording and translating of Australian music to record.

:: Underside of a metal master :: Image courtesy of the NFSA Canberra ::

   

:: Wax disc details :: Image courtesy of the NFSA Canberra ::

Historical facts aside - I was struck by the physicality of the objects and the weight of presence their history conveyed. I guess I see similarities with my response towards spaces and places? More and more I refer to what I have coined as, 'Sonic Memory', which if anything - is an idea of my own that combines the sounds as generated and/or affected by the physical characteristics of a space and the knowledge that these sounds have been, are and will be - living/generated within these space irrelevant of our presence to listen to them - completely independent of our own experience.

I like the idea that listening to a sound reacting with a space could be viewed as a window into the memories of a space itself.

Hence the term: Sonic Memory.   

Many thanks to Ian Gilmour for assisting with his technical expertise

&

Tamara Osicka for her research expertise and inviting me to tag along.

Northern Exposure Festival - northcote

Northern Exposure Festival: Program PDF - click on above image

THIS JUST IN >>>>>>>>

I will be installing one of the multi-channel works from Noirlac Abbey, as part of a group exhibition for the Northcote, Northern Exposure Festival, 2012. Fellow sound nut and friend, Martin Kay AKA Mountain Black, is bringing together a group of artists - a few of us (which have worked together in the past and I'd go so far as to say we were part of a 'Time and Place' experimental small sub culture) to install our pieces at the Northcote Uniting Church.

Details are as follows

'I Am Your Surroundings' - presented by Martin Kay

Photographic and multichannel sound compositions, exploring notions of compassion, empathy and comfort.

Featured artists include: Darrin Verhagen, Tessa Elieff, Martin Kay, Nick Van Cuylenburg, Jake Carter.

Northcote Uniting Church - 251 High St Northcote, Melbourne.

Friday 22nd and Saturday 23rd of June.

11am - 5pm

Free

I would like to acknowledge the In-Habit international initiative, Punctum Arts and Arts Victoria, for making the work at le abbaye Noirlac, possible.

      

Initiated as part of Punctum's In-Habit international initiative.

Hope to see you there,

Trip to the NFSA - Canberra

Hands-on exhibit, NFSA 2012

I found myself wandering through the entrance to the National Film and Sound Archive (NFSA) in Canberra just after the weekend. My only wish was that I had made it there earlier in the day as the Library collection closes at 3 - regardless - it was a bit of a treasure trove worth rumaging through for a dose of Australian history. They have a small and intimate theatre that shows a selection of footage, movies and moving imagery, depending on the program at the NFSA. While I was there I watched some old footage of some of Australia's first travellers to the Antactic (With Sir Douglas Mawson). Was pretty entertaining listening to the tales of the photographer that Mawson selected to take with him on the trip and of course, the weather conditions were brutal. I know that travellers today experience the same conditions but even considering the technology of the travel wear and equipment (shoes, jackets, thermals) now compared to then, made you aware (as the observer) of just how savage the trip to Antarctica would have been in the early 1900's. As a photographer, your dedication to your art would been unquestionable...

Sound Effects Booth, NFSA 2012

They had managed to salvage an old sound effects module as commonly used in radio and movies alike (to your left). The carved wooden 'feet' for the sound of walking and footsteps sounded unreal - triggering memory recall of cartoons and old movie scenes where a character is hiding from someone behind a closed door, as they slowly walk across the room.... Currently, the NFSA is asking for nominations for the 'Sounds of Australia, 2012' - will have to think about this one for a bit. The collection was launched in 2007 and has since had sounds from songs, radio, comedies and speeches added.

It's worth mentioning that the Mediatheque at ACMI in Melbourne also provides access to the NFSA's collection and all for free to the public. Again, give yourself plenty of time though. Sound and vision are time based art forms and it is more than easy to spend a day in Mediatheque booth, watching footage of melbourne's 'Sharpies' movement from the early 70's - or scrolling through the recording snippets in their data base. 

Inspiration for Moozak and Vienna

Gordon Matta-Clark: Conical Intersect, 1975

I am inspired by the space that will house the Moozak Festival. The venue is called MediaOpera - which is a space that was transformed from an old cattleshed into a venue. The thought of unleashing my sounds into such a space definitely sparks my creative intuition - pulling my ideas to the work of 70's artist, Gordon Matta-Clark. Originally schooled in architecture, Matta-Clark became known for his work that entailed cutting out pieces of floors, walls and ceilings from old and unused buildings (building cuts), leaving gaping holes in the walls of our realities.

'I aim to convert a place into a state of mind'
Matta-Clark: 1976

Gordon Matta-Clark: Office Baroque, 1977

I like the fact that he makes physical, changes to our environment that are not dissimilar to the changes that I envision when I work with sound and space. I like the fact that for the Moozak festival, artists are being placed within a space that has a previous identity (MediaOpera - Cattleshed) so there is already present an undertone impression of this character. The space has already been altered - and while we view it's built purpose and intent as being completely different to that of it's origin, the first reality still exists - moulding with the new and creating a new reality that is neither how it was, nor how we think we have made it to be.

Let's see what I will be able to add to the equation.......

Upcoming Release and Journey to Austria

Plans are slowly falling into place for this year with the most recent development being the forming of a connection with Clemens Hausch and his music label, Moozak - based in Vienna. As much as I love Australia I have been facing the cliche boundaries that are not uncommon to the emerging sound artist, where the first release does not stir the greatest interest amongst relative strangers from the same country. I must say I was dissapointed with the response's from the Australian connections that I sent my work to. All responses I had were from international communities and/or artists and while not all of the responses I had were offers to release - they were all positive, encouraging and often asking to receive more potential albums in the future. At the least, they thanked me for my work and acknowledged my efforts.

I continue to wish that the Australian experimental music community was more supportive. Perhaps I am still too idealistic as a young artist ...............

I was not adverse to releasing my album independently - but very much wanted to share the sounds with sonic communities outside my 'normal' surroundings. The thought of my sounds being held captive to their country of origin was frightening enough for me to take a few risks and reach beyond my safe haven of community - with no real control of where my work may or maynot end up......

Enter Moozak - a label dedicated to experimental music and one that very much puts their heart and soul into what they do. Whilst I have only conversed with Clemens at this stage (the label consists of three individuals) I can say that I have been overwhelmed by their commitment to sound and open honesty of intent. September will bring with it Moozak's annual festival in Vienna and I am excited at the open invitation to present my work live for the occasion. Plans are to to release the album in Vienna for the festival and then move on...... but as always - where to is still unknown.


details to be cont'd

Letter to Aphex Twin and Autechre

Dear Aphex Twin/Autechre,

if you could please make the world I project onto you real - if you could take away all those horrors that cease to exist with the reality you entertain, then I might grant you the benefit of the doubt - that you are infact - interested in a greater good, and not just a money making making machine as part of the consumerism that has devoured us in our sleep. Can you promise me this? Can you prove to me that this is still the case? That you did not sell the soul of your sounds to a car commercial (Boards of Canada) or perhaps to a 'larger audience' purely for mass appeal.

I ask you this.

I ask what your intent is.

I ask you not to succumb to the nightmares I know exist.

I ask you to continue creating an alternative to a bigger problem, I ask that you do not give in and decide that all is in vain.

It all is relevant.

Every decision is valid

The passing of time is no excuse for submission or apathy.

Can you promise an anonymous listener?


Regards,

On the airwaves......

My first post for the new year (cringe)........ Took me quite a while and in my defense it has been so long NOT for lack of things to say but rather out of a mild paranoia of taking the first step. The end of last year left me with a lot to think about regarding my work. I found myself in a position of wondering if I was being heard.

'I know I'm working with sound so others have to be able to hear what I am creating.... but I don't think they are? I feel like I'm stuck in a sonic bubble like a childhood dream of shouting at others only to watch them walk past me with numb faces, unresponsive to my attempts to communicate.'

Internal dialogue Jan 2012

Goodnews is that my response to these feelings was to send out my album (yet to be released so hold onto your hats it's on it's way) to a small number of local and interstate radio hosts. I then sat back and waited. I know airtime can be tight not to mention - selective but nonetheless - i was pleasantly surprised to receive exposure, mild pluggs and playtime from a number of the stations. These included the below

Sound Quality on Radio National: Presented by Tim Ritchie

Far Side Virtual on PBS 106.7FM (Melbourne): Presented by James Parker

Delivery on Triple R 102.7FM (Melbourne): Presented by Owen Mckern

The above radio shows provide an unfathomable amount of support for local artists whose work ventures in, around and even sometimes out of the 'Experimental' genre. If you are wanting to discover something new or perhaps be reminded of just what is possible with sounds then I would highly reccommend tuning in to their frequencies.

Another favourite of mine is/was

Possible Musics on Phoenix 106.7FM (Bendigo): Presented by Jacques Soddell

Was sorry to hear this show had wrapped up and am quietly hoping Jacques will be back on air soon....