Adam Willetts & Rory Dalley (on his premier AK jaunty-jaunt) make the journey from the dubstep/ wonky heaving of Churchurch to play exclusively at Audio Foundation, joined by local mystery spirit guide, supersession ulta-extra all star Sean Oreilly.

A unique night of persona per sound per wellinder. Polarity in Polarity out. Domestic rugcore meets mystic drifter spore, invisible graphic scores enhanced by VHS Decor (dreamed). Objects like falling stars, subjects failing on stairs. Lung Butter Hetero Diner Mix crossing Homo Genie Surf Casting. Elements still out there, working.

Adam Willetts

Adam Willetts has been performing around New Zealand and internationally for more than a decade, creating beautiful works of sparkling, electronic noise using mixtures of DIY, lo-tech and hi-fi tools.

http://adamwilletts.bandcamp.com/

Rory Dalley (IRD)

cassette, plant, percussion, vocals, cassettes.
infernal residue dynamics, infernal residue departure, inland residue depasture, inframail residue devaluement...
Sounds like...
"Cats, lots of cats, they are wriggling"
"A tiger eating toast. It's crunchy and he's tired"
"It's sharp teeth"
"It's like ice and water getting hard"
"I didn't like that music"
"Maybe it's just a dream"

Sean Oreilly (SF)

Who thinks Sean Oreilly is weird?

http://en-gb.facebook.com/pages/Who-thinks-Sean-Oreilly-is-weird/1410308...

Join the members of Tetras in a free workshop to discover what is unique about their approach to improvisation and music. All are welcome, bring your instrument and be ready to play... the workshop will be followed by a collaborative performance from the workshop attendedees.

Workshop - 4 PM to 6 PM
performance - 8 PM to 10 PM

Jason Kahn: drums.
JeroenVisser: organ, electronics.
Christian Weber: contrabass.
http://tetras.jasonkahn.net/

Tetras is an improvising trio based in Zurich, Switzerland. They take a long-form approach to their music, with live sets approaching one hour or more. The gradual structural development of their pieces blurs the sense of time passing, moving through various fields of improvisation which owe as much to rock (This Heat, Can), jazz (Sun Ra, electric-era Miles Davis), minimal music (Steve Reich) or drone (Phil Niblock).

Invited to play at the 2012 NOWnow Festival in Sydney, the last date on this tour, Tetras is also playing shows in New Zealand, Malaysia and several other Australian concerts in Melbourne and Canberra.
In January their first release, the double LP “Pareidolia,” will appear on the Chicago Flingco Sound label.

Jason Kahn began playing music in Los Angeles during the early 1980's, initially releasing records on the SST label. During the 1990's he lived in Berlin, playing drums and percussion in many projects of improvised and electronic music. Since 2000 he has been living in Zurich.
Getting his start in the 1980's Amsterdam Ultra scene, JeroenVisser has worked extensively as sound engineer with The Ex, Tom Cora and many more. He played with The Pale Nudes during the 1990's, and currently tours with ./morFrom/. and Trio Kazanchis, with Ethiopian singer and krar player MeseleAsmamaw.

Swiss bassist Christian Weber is involved in numerous projects, ranging from jazz and free improvisation to contemporary chamber music. He has collaborated with a wide spectrum of musicians, ranging from John Butcher to OtomoYoshihide.
This tour has been made possible with the support of the Swiss Arts Council, Pro Helvetia.

Workshop/performance
Saturday January 7 2012
Audio Foundation HQ
4 Poynton St
(off Pitt St and underneath Parisian Tie factory and behind St Kevin’s Arcade)

Workshop 4 - 6pm (free)
Collaborative Performance 8 - 10pm ($10)

Seeing & Hearing DJN

Artist and musician DJN presents a selection of drawing, photography and sculpture exploring music, sound production, language and memory.

Suggesting sound in ways other than the sonic.
Stimulating thoughts of sound in the mind of the viewer.

Can the experience of listening be translated into visual terms?

The show mixes new work with previous work; some exhibited before and some not.

The opening night (Saturday February 4, 6pm) features a performance by DJN ‘ The Concrete Mix’. A pithy commentary on the relentless march of sound technology toward what ends?

2012 sees DJN enter his fourth decade of art and music making. He has exhibited in NZ, UK and Europe whilst producing/ performing music with DRONE from the mid eighties. Current projects include a solo album ‘Comm One’, and the debut album from Transcendental Learning Collective.

www.djn.co.nz

Altmusic is proud to present Mark McGuire (Emeralds) as part of Altmusic's programme of exciting & innovative international musicians touring New Zealand in 2012.

Mark McGuire (b. 1986) is a US-based guitarist well known as a member of Emeralds and for his acclaimed solo recordings and performances. A key figure in the buzzed-out world of hypnogogic pop, McGuire's incandescent guitar playing with Emeralds takes listeners on a transcendental journey - where Roger Dean landscapes unfold into crystaline superstructures and space hippies wave at friendly, chrome-plated dolphins. His solo work has a pastoral quality both meditative and mind-zapping - amazing to listen to while stoned. This performance will be a highly anticipated, pivotal music event in 2012.

“McGuire doesn't wear his heart on his sleeve, bare his soul, or poetically expose his innermost desires and tragic flaws. In fact, he hardly says a word. He doesn't have to. His songs, minimal and impressionistic, are like mirrors. The echoing guitar weavings, ambient and melodic, evoke a wide array of emotions and situations.” - Altered Zones

Mark McGuire has released a ton of material both with Emeralds and solo with at least thirty records under his belt – notable albums include A Young Person's Guide To Mark McGuire and Does It Look Like I'm Here? (Emeralds), both released via Editions Mego. McGuire is also a popular and notable DJ, as DJ Road Chief his upbeat mixes of contemporary R'n'B and electro-boogie provide bootyshaking contrast and context to his idyllic guitar practice.

Droszkhi (Torben Tilly from Full Fucking Moon, Minit) will be supporting McGuire for the Auckland performance.

Tour details are as follows – tickets available through http://www.undertheradar.co.nz/utr/ticket

Auckland - February 2nd, Audio Foundation HQ w/ Droszkhi, 8pm start $10
Wellington - February 8th, Freds w/ Jo Contag, 8pm start $10
Dunedin - February 15th, Chicks Hotel w/ Inner Tube and Tillakaratne, 8.30pm start $10
Cristchurch - February 16th, Darkroom w/ God Destroyer, 8pm start, price tba

Alongside his Altmusic solo performances, Mark McGuire will be performing throughout New Zealand with hypnogogic pop originator Spencer Clark (Skaters, Monopoly Child Star Searchers) as a member of surf-themed duo Inner Tube. More info, dates, etc to be announced.

For more press/interview information please contact: chris@audiofoundation.org.nz
Mark McGuire website: http://mcguiremusic.blogspot.com/
Altmusic is a programme administered by the Audio Foundation: http://audiofoundation.org.nz/altmusic

Kikkawa, Ward & Scowen

aka "Saved from the sharp teeth of a homophobic death" "the ladder is part of the pit" "black box HQ"

Generally working as a trio with occasional guests
and participating as sound ellement in performance art projects.

Self released two albums "ritual soot" & "You are in exile until further notice" on "From the mountains of hiss" label.

Working with sound and video recording to capture improvisations that wander unguided untamed between camps of noise, folk, ambient, dark/no wave, ritual, rock, film & damage . Using eclectic acoustic and electric instruments, site specific found objects, multi dimensional conjering etc etc.

everything is hidden between assorted nothings.

loosing a personal war against definition and focus.

"the ladder is part of the pit"

unplanned unforseen unrecognisable unredemable rituals for travellers of the vast lost inner spectral astral boot camp.

associated bands and groups

Motoko Kikkawa: Tortures, Tsunami no orikata, Children of the suntan lotion , Buck up band, Readytronics.

Richard Scowen: The cardboard crystals have tone, Volt, Horsehead nebula, Mothlovesflame, Ahex4nextdoor.

Mathew ward:
MGR, suchness
..

Down-tuned guitar heavyweights Somme (Fake Purr, Cat! Cat! Cat!) are playing alongside 'Pharaoh of Sound' Nigel Wright - at the Audio Foundation!

More info tba

An early evening blast of techno gazey shoepop from Dunedin's The Blueness (John White, Lucinda King, Kristen Wineera). Joined by Ducklingmonster's Dreamymachine with dreamy visuals.

Get free songs from www.theblueness.com

Come along to the release of Golden Axe's amazing and super mysterious brand new album LIQUID BACON on AMDISCS!!! It'll be available for pay-what-u-wanna digital download and on special limited cassette release from 9 December 2011! Vinyl release due February! :O

The fabulous SECRETS (Chch / Sydney) will be performing with the band!

Here's the tour details >>>>

Auckland - Friday 9 December w/ SECRETS - Audio Foundation HQ, KOHA ENTRY 6pm start. There will be an art installation involved - COME EARLY. All ages.

http://www.amdiscs.com/

http://goldenaxe.bandcamp.com/

http://goldenaxeinfo.blogspot.com/

http://secrets4eva.bandcamp.com/

THE ALL SEEING HAND ALBUM RELEASE TOUR

______________________________________________________________

November 23 - 26 2011

Nov 23 - Wellington: San Francisco Bath House w/ Kitten Tank and Mono Sonic, 9pm

Nov 24 - Palmerston North: TBC

Nov 25 - Whanganui: Arc Theatre w/ Sets, 9pm

Nov 26 - Auckland: Audio Foundation, 4pm

Nov 26 - Auckland: Snake Pit, w/ Wilberforces10pm

The All Seeing Hand, made of Alphabethead (turntables), B Michael Knight (drums) and Noel St Cosmos (vocals) celebrate the release of their debut album with a tour of the North Island of New Zealand.

Final local support to be announced.

______________________________________________________________

Like The All Seeing Hand at:

https://www.facebook.com/pages/The-All-Seeing-Hand/112272118877563

Listen to The All Seeing Hand at:

http://soundcloud.com/the-all-seeing-hand

Watch The All Seeing Hand at:

http://vimeo.com/30522174 (by LEKRMOI)

And at Nevermind Punkfest Wellington 2011:

http://www.youtube.com/watch?v=vDhqoQDB7qA

http://www.youtube.com/watch?v=WUoVHflYTrI

http://www.youtube.com/watch?v=qvrxTuzClh4

See The All Seeing Hand on tour!

______________________________________________________________

Artwork by Hannah Salmon

Design by LEKRMOI

***AURA! EMPORIUM***

Works by Selected Artists for Xmas Purchases!
AUDIO FOUNDATION HQ
SUB-BASEMENT OF THE PARISIAN TIE FACTORY
4 POYNTON TERRACE - behind St Kevins Arcade or off Pitt St

Sunday Dec 4th !!!!!

5 - 8 pm - Opening with Lothlorien Fejoa Wine and Westlynn Organic Meats Sausage Sizzle !!!!
8 - 10 pm - Kareoke Dick !!!

Kadimah have kindly let us use their playground so bring the kids and your best singing voice

Kraus, Beth Dawson, Jeff Henderson, Andrew McLeod, Phil Dadson, Karin and Markus Hofko, Lex Dawson, Chris Cudby, Stella Corkery, Emit SnakeBeings, Damian Golfinopoulos, Alex Brown, Ryan Lesley, Micheal Morley, Stefan Neville, Erika Strata, Tessa Stubbing, Sean Kerr, Sophie Watson, David Merritt

With Brydee Rood's work "The Do It Yourself Inflation Demonstration" showing in the Screening Room!

http://audiofoundation.org.nz/content/emporium

Thanks to Creative New Zealand, ASB Trust, Lotteries Environment and Heritage, Kadimah, Lothlorien and Westlynn Organic Meats
(voted Best Butcher of 2011 by Metro!)

This gig celebrates the release of The New Self debut EP 'His Name' as well as David Khan's latest album 'Clearing.'

The New Self is a collaboration between Laurence Smith (vocals/guitar) and Ed Wilson (mandolin) that has performed regularly in Dunedin and Christchurch since about 2007. Operating in and around the stylistic territory of 'alt-folk' or 'folk-noir', The New Self create music that is simple and sparse, typically employing traditional song structures, while stretching conventions of rhythm and harmony. Supported by the contrasting sounds of acoustic guitar and mandolin, lyrical content and delivery is a focal-point. At times these elements work together respectfully and complementarily, reinforcing a common feeling and purpose; at other times they work despite each other, creating syncopated rhythms and discordance akin to the sometimes lurid and dysfunctional lyrical imagery. The resulting songs are unique and engaging, harnessing real emotion and intensity.

For mp3s see The New Self on myspace: http://www.myspace.com/thenewself

David Khan has been active in the New Zealand alternative scene since the early 1990s, both as a solo artist and in many collaborative projects. In recent years, his solo music has inclined increasingly towards aural abstraction and improvisation. 2010 and 2011 have been particularly productive years, witnessing several collaborative ventures with Peter Wright and Antony Milton (i.e., Kannazuki and Hi-Asobi - the latter performing at Lines of Flight) as well as the completion of two solo albums ('Lacuna' in March 2011 and 'Clearing' in October 2011). This new music employs vocal textures, both sampled and subliminally performed live, in conjunction with a vintage Ensoniq sampling keyboard and effects. The result is a lush, sweeping, constantly shifting ambience, basically atonal, but often manifesting chance harmonies.

For mp3s see David Khan's Audiofoundation page: http://audiofoundation.org.nz/artist/david-khan

ALTMUSIC 2011 presents

Kieth Rowe (UK) NZ Tour

Altmusic is proud to present Keith Rowe as part of Altmusic's programme of exciting & innovative international musicians touring New Zealand in 2011.

Well known for his involvement with pioneering groups AMM and later MIMEO – Keith Rowe is the legendary trailblazer of free improvised, prepared guitar techniques.

'Legendary innovator, UK 'tabletop' guitarist Keith Rowe has explored the guitar as a primary source of pure sound, extending it with an array of objects and bric-a-brac, for more than 30 years. Keith Rowe is probably best known for his groundbreaking work with AMM and the SCRATCH ORCHESTRA. "Twanging ruler-shaped objects set off a cartoon style jiggling tremolo, a block of foam causes mountainous scuffling booms...A one man sound lab and dub studio formed out of a corner hardware shop.."[The Wire June 1999]'

Tour dates as follows:

Christchurch
Sunday Nov 13
with Rosy Parlane
Chambers@241, 241 Moorhouse Avenue
8pm, $10

Dunedin
Friday Nov 18
with Omit
Dunedin Public Art Gallery
8pm, $10

Wellington
Friday 25 Nov
with Rosy Parlane
Freds - 46 Frederick Street.
8pm, $10

Auckland
Sunday Nov 27
with duo of Jeff Henderson and Phil Dadson
The Classic, 321 Queen St
8pm, $10

Presale tickets available from Undertheradar - http://www.undertheradar.co.nz/utr/ticket

http://www.audiofoundation.org.nz/altmusic

For more press/interview information please contact: chris@audiofoundation.org.nz

PLANET OF THE TAPES ARE FUTURISTIC CORPSE REMAINS & DUPLICATES OF THE MYSTERIOUS TAPE MAN

First Dorkland visit for these Tape guys from the future, re-examining the scary surf fuzz thumped & scratched out by their haunted, zombified, and ghostly tape-predecessors...

Setting the tone of the evening, will be the trio of rapscallions from the revamped Daggers gang, with a new timekeeper leading a new swing...

This event starts early/ends early, so don't get all scatterbrained on startin' times... git yr ass there on time!

Deer Park, Space Creeps, Moppy and Christopher (first show)

more info tba

Stella Corkery exhibition - 'way to be silver'

Stella Corkery will be showing paintings that speak to a process of material and transformation. An awkward relationship exists between the idea of making a painting, the tradition of painting and it’s relationship with art and life. Her strategy to deal with this is to objectify the work and pull in to play notions from her musical practise. Stella is currently in her third year of study for a BFA at The Elam School of Fine Arts in Auckland as well as being a long time experimental musician with the duo Whitesaucer.

The exhibition opening will feature DJ Alan Holt.

Plus showing in the Screening Room:

Daif King - 'Queering Dreams: The Video Art of Too Many Dinner Parties'

Projected 3D animated gif works by artist and musician Daif King (Golden Axe, Dorkwind, Crystal Magic records)

http://daifking.tumblr.com/

Special thanks to Coopers and Ch'i for sponsoring this event.

A Chill out Zone LIstening Lounge with DJ's:
Teddy Wong, Rosy Parlane, Stefan Neville and Sarah Nicol Seldon
16 mm projections by Derek Gehring, plus Music Stall and a Select Bar run by Rohan Evans!
As part of First Thursdays

ALTMUSIC presents Eric Copeland (USA) w/ Seth Frightening

Altmusic is proud to present Eric Copeland as part of Altmusic's programme of exciting & innovative international musicians touring New Zealand in 2011.

Well known as a member of Providence noiseniks Black Dice and sonic travellers Terrestrial Tones (with Avey Tare from Animal Collective), Eric Copeland’s solo work has carved its own path in hypnogogic sonic navigation. Copeland collages his fuzzy pop nuggets from out-of-kilter thrift-store loops and electronic scratch ’n’ sniff - constructing a compelling sound-world that’s both catchy and exploratory.

“While both he and Black Dice employ dragnet sound collages and splattered sampling, Eric Copeland's solo material emphasizes destroyed rhythms and mechanical atmosphere. The end result is a vague and wholly fucked version of dance music.“ - Altered Zones

“Copeland is a pop idiot savant let loose in the mad scientific library of a Smile-era Brian Wilson.“ - Guardian

Currently based in New York, Black Dice have been key figures in the distinctly flavoured psychedelic audio/visual culture emanating from Providence Rhode Island since forming in 1997 - releasing their sounds via Astralwerks, Paw Tracks and DFA. With Black Dice Copeland has collaborated with Wolf Eyes and forms half of the duo Terrestrial Tones. Releasing solo works via Paw Tracks and Escho Records since 2003, Copeland’s acclaimed releases include the Hermaphodite, Alien In A Garbage Dump, Strange Days and Waco Taco Combo albums. He was recently selected by Animal Collective to perform at the All Tomorrow's Parties festival in May 2011.

Seth Frightening is Sean Kelly and Thomas Lambert, summoners of catchy tunes and rusty ethereal psychedelic sonic explorations.
"(Seth Frightening's) The Prince and His Madness is unmistakably brilliant; Kelly’s voice is strong and focused, delivering tortured tales of war and injustice, self-possession and discovery.... a twisted, unique piece of work that’s sincere from start to finish." - Nick Fulton, Einstein Music Journal.

Tour dates as follows:

12 October 2011 - Auckland - Audio Foundation HQ 
with: Seth Frightening, 8pm start, $10 entry
13 October 2011 - Wellington - Happy 
with: Orchestra Of Spheres and Droszkhi, 9pm start, $10 entry
14 October 2011 - Dunedin - Chicks Hotel 
with: Empirical and Eye, 8pm start, $10 entry
15 October 2011 - Christchurch - The Archive 
with: Bastardwisher, 9pm start, no charge

Presale tickets are available from Undertheradar - http://www.undertheradar.co.nz/utr/ticket

http://www.audiofoundation.org.nz/altmusic
www.sethfrightening.bandcamp.com

For more press/interview information please contact: chris@audiofoundation.org.nz

Friday 23 September, 2011

Pseudorobustus w/ Chronic Fatigue Syndrome (album release) + guests

Liz Maw and Andrew McLeod's (Evil Ocean) mighty meta-metal juggernaut Pseudorobustus will zazz up yr earbuds & eyeballs with their meticulously mega epic/heavy riff mantras. Expect props/cosmic expansion.

Andrew McLeod's Chronic Fatigue Syndrome will be playing support and releasing a brand new LP of his unique brand of psionic mind-zappery.

7.30pm start

Girls Pissing on Girls Pissing are releasing Tangiwai on the 24th of September.

Tangiwai will be a book with a 48minute album (cd+download code) enclosed within & containing lyrics & collage works by Casey LAtimer & Alexander Brown.

Come to The Audio Foundation on the 24th of September for an uncommon performance of songs from the album plus a solo set by Emily Edrosa.

Also in the same room Casey & Alex will be showing a range of recent artworks containing scenes that some viewers may find disturbing. ♥ $$$

Open from 6.30, music at 7.00ish.
All Ages / BYO / Koha

http://www.facebook.com/girlspissingongirlspissing
http://www.facebook.com/groups/audiofoundation/
http://www.undertheradar.co.nz/utr/artists/A/2502/N/Girls-Pissing-On-Gir...

Michael Morley

l'endroit des routes mortes

audio foundation
poynton terrace, auckland, new zealand
october 2011

Prints made while Artist in Residence at the Centre national d'art contemporain à l'édition et à l'art imprimé, Chatou, France June 2008.
Paintings made in New Zealand during 2007 and 2008.

l'endroit des routes mortes

All My Love To Give, Love Generation, and Love Will Tear Us Apart - photo-etched aquatints of turntables with records playing. Derived from the Humiliation I.Q. series of paintings from 2000-2009. They are a semiotic device for memory and an attempt at creating a version of the song in a non-aural sense. Memory aides the viewer in creating the song internally and if no memory exists of the song the viewer is suspended within John Cage's very notion of silence, the something/nothing that we hear and perceive around us knowing and not-knowing.

Mstackcrys2.1 - is a multi-plate aquatint, created from an image of a guitar amplifier that has been rendered as a watercolour, this is further mutilated using the crystalline effect in Photoshop and then further transcribed by hand as a painting, or in this instance as an aquatint print. The final print image has been made up from thirteen separate plates that have been individually hand coloured and arranged on the plattern for final printing, each total impression being different from the next due to variations in colour mixing and plate placement. Thanks and gratitude to master engraver Vincent Busson for his incredible skill and patience in the realization of this work and the other prints made during the residency at CNEAI.

le sac a dos - commemorates the most quotidian of contemporary objects, the back-pack, a banal sign for possessions, it is also an object of extreme menace being able to conceal explosives or to be mistakenly assumed to carry explosives. As a sign of terrorism it is unassuming since its very appearance is the antithesis of a weapon, yet the potential for death and destruction is assured in its very invisibility.

Hiwatt and Super Twin Reverb - two oil paintings from 2007, these prefigure the obsession with the mediated and a constantly shifting ground. Sound as mass.

JTM Head and Super Reverb - two oil paintings from 2008 that celebrate the amplifiers that they are named after and commemorate the watercolour paintings made from the amplifiers. These are the last of the "crystal amps".

with thanks to: Sylvie Boulanger, Madeleine Mathe, Vincent Busson, the staff at CNEAI, Christophe Wavelet, Marie Murraciole, Dean Inkster, Jean-Jacques Palix, Nina Canal, Nadia Lichtig, Lee Ranaldo, Leah Singer, Kim Gordon, Thurston Moore, Roland Groenenboom, Morgan Oliver, Jay Hutchinson, Sara Stephenson, Molly Stephenson, Luc Stephenson, The Audio Foundation, and the School of Art, Otago Polytechnic, Dunedin.

Audio Foundation Sunday Salon -Recent Developments in DIY Music Culture

Sunday 25 September
4pm start

Join us for an informal panel-discussion with Richard MacFarlane (Rose Quartz), Tim Gentles (Rose Quartz), and Jon Bywater (Programme Leader of Critical Studies at Elam School of Fine Arts, The Wire magazine), who will be discussing recent technological changes, and the impact that this has had on notions of DIY music culture. Included in the discussion will be considerations on the role of the blog in disseminating both old & new music, new interactions between DIY techniques and modes of distribution, and styles typically associated with the non-DIY overground - such as R&B, Pop & House.

Free entry, tea & coffee provided.

Vitamin S Presents:

Invented Instruments Orchestra
17-18 September

A weekend mini-fest of workshops and concerts bringing together the adventurous best of NZ's experimental instrument builders / improvisers. Two fascinating and entertaining concerts of sonic exploration featuring home-built acoustic, circuit-bent and digital devices by performers from around the country.

Curated by Daniel Beban, musician and ethnomusicologist and Phil Dadson, sound and intermedia artist, widely known for his use of original instruments in sound - performance group From Scratch.

Dadson and Beban will be joined by performers including Jeff Henderson, Drew McMillan, Marcel Bear, Adrian Croucher, Simon Cuming, Jason Erskine, Bridget Johnson, Sean Kerr, James McCarthy, Derek Tearne and Nel Thomas.

Saturday 17 September, 8pm-10pm: A selection of solos, duos and ensembles.

Sunday 18 September, matinee show, 4pm: The Invented Instruments Orchestra supported by The Whatchamacallits Ensemble.

$10 Entry on the door
($15 for both concerts)

www.vitamin-s.co.nz

Please list this event in all gig / concert guides.
For any further information and interviews please contact Erika: 0274986877 erikastrata@gmail.com

ALTMUSIC 2011 presents

C. Spencer Yeh w/ Omit

Altmusic is proud to present C. Spencer Yeh as part of Altmusic's programme of exciting & innovative international musicians touring New Zealand in 2011.

Born in Taipei, Taiwan, multi-instrumentalist C. Spencer Yeh is acclaimed for his solo musical project Burning Star Core, as well as numerous other individual and collaborative artistic activities. Often favouring violin for solo performances, Yeh has a staggering discography of works under his belt. C. Spencer Yeh's diverse sound practice encompasses blissed-out meditative droneworks, virtuisic improvised ear-bleed and everything in-between. Yeh will be performing solo for the length of his Altmusic NZ tour.

"Though he’s an accomplished free improviser, Yeh doesn’t use the language of free jazz per se - instead he demonstrates an impressive ability to listen and adapt that lets him retain his meditative sound in alien contexts."
- Chicago Reader

"Yeh (spews) forth nothingness like the good-boy-turned-bad from the anti-drug filmstrips that stoners now laugh at with their glazed glee." - Tiny Mix Tapes

A US resident for much of his life, C. Spencer Yeh studied film at Northwestern University in Chicago IL, represented Cincinnati OH for many years, and is currently based in Brooklyn NY. Yeh has worked alongside artists such as Tony Conrad, Mika Tajima and New Humans, Thurston Moore, Okkyung Lee, John Wiese, Nate Wooley, Paul Flaherty, Chris Corsano, Jandek and Death Beam. He has performed at events such as SONAR, Densités, All Tomorrow's Parties, and Frieze Arts Fair. Yeh has also exhibited visual and multimedia works at national and international venues including the Contemporary Arts Center in Cincinnati, the New Museum in New York City and International Film Festival Rotterdam. Yeh has made video works with artists such as Hair Police, Deerhoof, Xiu Xiu, LoVid, Beast People, and Prurient. Recent and upcoming releases include a solo CD "1975" on Intransitive and Nate Wooley's second installment of "The Seven Storey Mountain" on Important Records (in trio with Chris Corsano).

Clinton Williams (aka Omit) is an electronic musician from New Zealand. Among several projects launched under pseudonyms he has directed Omit for over 20 years - exploring the possibilities and capacities of vintage electronic equipments to create deep psych-acoustic effects on mind. Omit's long, linear, monotonous ambient "drones" punctuated by micro accidents & events echo the works of such pioneers as Klaus Schulze, Cluster, Coil and The Halfer Trio. He has released his works via a number of labels including Corpus Hermeticum and Deep Skin.

Tour dates are as follows

Auckland - Sat October 1st at Audio Foundation HQ with Omit, 8 pm, $10 

Auckland - Sun October 2nd at Wine Cellar, a collaboration with special guests, 8pm, $5
Whanganui - Mon October 3rd at ARC Theatre, 22 Drews Ave with Iterrata, ROC///OPT/ and Scumbagz, 8pm, $10
Dunedin - October 5th at None Basement with Gate and Lee Noyes & Radio Cegeste, 8.30 pm, $10
Christchurch - October 6th at The Archive with Rainbow Beast and David Khan, 8 pm, 
$10
Wellington - Fri October 7th at Happy with Eye and Tlaotlon, 9pm, $10
Wellington – Sat October 8th at Fred's, a collaboration with special guests, 7pm, $10

For more press/interview information please contact: chris@audiofoundation.org.nz
C. Spencer Yeh website : http://www.dronedisco.com/
Altmusic is a programme administered by the Audio Foundation: http://audiofoundation.org/altmusic
http://www.undertheradar.co.nz/utr/show/SID/22705/N/Altmusic-Presents-C-...

Bathing with Elephants and other Exotic Reveries

Vitamin S, CoLab and THE EDGE co-lab-orate to bring new perspectives to borrowed visions.

Set amongst the Civic theatre foyer rooms (Safari & Taj Mahal) depicting ‘romantic images of the east’ ‘Bathing with Elephants and other Exotic Reveries’ mixes genre and technology like a kitchen-whizz in a Bombay spice shop.
Performance technologies are cross-bred by musicians, designers, theatre-makers, dancers and visual/performance artists to create their own unimaginable exotic beasts, new worlds and transcendent journeys. Like architects and artists of the old world before them, imagining exotic far-off lands and freely mixing fantasy with reality from the newly accessible scientific world, the artists of ‘Bathing with Elephants and other Exotic Reveries’ will inspire sumptuous futures based on new technologies and unrestrained.

CALL FOR SUBMISSIONS

Be the exotic adventurer you always knew you were. Take us on an incredible journey that no human has even been on before. Guided by new technologies and media, and an unstoppable desire for uncertainty, Vitamin S in collaboration with CoLab and THE EDGE want you to create a cross-bred exotic performance beast.
Call it hybrid, cross-discipline, fusion, mongrel, whatever you like, we seek artists who will present us a vision of the future un-tempered by existing performance models.

Inspiration for your proposition should consider the location specific venue – the below-ground-level reception rooms at the Civic Theatre. The Taj Mahal and the Safari Room are dripping with desire to bring audiences to new and exotic places. Your proposal should try to mix new technologies, interactive technology, and folk-truths to create a performance experience for the audience like a ‘ghost train’ of atmospheric performance spaces. This may include sound, light, 3d design, interactive technology, transmedia in order to envelope and emerse the audiences into an exotic or unconventional vision and performance experience
The performance season will be from January 26 to January 28 in the Civic Safari, Taj Mahal and their entrances.

Make a proposal

Write up your idea: express it in words, images, sounds or through objects to tell us what kind of an atmosphere you would like to create. Tell us who you would like to work with, (or we can also hook you up with artists also looking to collaborate) and what kind of technologies you intend to use. These may be state-of-the-art or old-world, but should take the audience to a unique vision.
All submissions will be received up until the date September the 30th
Attached are images of the spaces we will be using, the more specific to each space you are the better.

see attached image for photos and floor plans.

Budget

A commission budget of $500 for each creator/project (8 spots available). A further $200 to contribute to materials. The profits from the box office (after expenses) will also be shared among the artists/performers from the commissions.
Some access to a range of new and established technologies will come from CoLab at AUT and THE EDGE. You should explain how your idea can fit within this budget what resources you have, and what resources we can make available to you in order to carry the installation off. Marketing and publicity will be covered by the festival season.The season performances will be from January 26 to January 28 in the Civic Safari, Taj Mahal and their entrances. There will be a pack in and rehearsal time available within the performance spaces in the week leading up to the opening on 26 January

Please contact
drew@vitamin-s.co.nz

to submit any vision, proposal, or conceptual ideas.
Once your vision, proposal, or concept has been received - we would like to arrange times to meet with you to discuss the project further.
All submissions will be received up until the date September the 30th

Thanks
dREw

Concert of Realisations.

Performers: Sean Kerr, Ashley Brown, Erika Strata, Richard Francis, Paul Buckton, Drew McMillan, John Bell, Ivan Zagni, Darryn Hannah & Phil Dadson

Performers will be interpreting selected graphic scores from the Music In The Eye exhibition

4pm start - $5 entry

Sam Morrison is an Auckland-based artist working in the field of sculpture and installation, focusing on the exploration of sound, performance, object and space. Electric Peeler will present a mix of video works and sound sculptures adapted from ubiquitous household objects – tin cans, buckets, electric peelers and the like – activating aural potentialities of both his sound sources and the gallery space itself.

"Morrison empowers his audience to become performers in exchange for activating his otherwise dormant space. By exploring the environment sonically through a variety of materials, he helps us become more closely acquainted with the world around us." - Andrew Clifford

Sam Morrison is a Masters graduate in Art and Design (AUT). He has exhibited works throughout NZ including at the Adam Art Gallery (Wellington), the Auckland Art Gallery, ARTSPACE, Saint Paul Street Gallery, High Street Project (Christchurch) and the Auckland Festival of the Arts.

UNDER THE RADAR & THE VBC 88.3 FM PRESENT..

The shocking and stunning..
Have been creating a buzz around Wellington so far this year. Their sound falls somewhere between noise/drone/dance, with some psychedelic synths, droning basses and frantic live drumming. You don't want to miss this!
http://www.facebook.com/pages/The-shocking-and-stunning/211540702201892
http://theshockingandstunningstatement.bandcamp.com/

Announce..
Is the current performance project of Jason Post. His work blends avant garde composition and droning, electroacoustic pop as a means to explore new textures and patterns of sound. Expect this set to be loud and glacial.
http://www.facebook.com/pages/Announce/180864681976656
http://announce.bandcamp.com/

Black City Lights..
Is Calum Robb. Live Electronica with a splash of ambience and a wollop of beats.

Wednesdays Awesome Drink Specials: $8 Jugs - $5 Handels - $5 Tequilas - $5 Bubbles

Audio Foundation graphic scores exhibition : Music in the Eye

MUSIC IN THE EYE
Since the beginning of notated music scores have held a visual fascination, both for the appreciation of a musical language and for the graphic symbols, as embodiments of the sounds they represent. The visual organisation of notes on a page can tell a lot about the nature of the music they signify. Going a step further and turning visual sign into the work itself, with or without the sound interpretation, is the very stuff of graphic scores.

I have often thought, when looking at the impressions on a cliff-face exposed to the elements, the patterns in sand left by the receding tide, or the intricate markings on a tree trunk that such marks lend themselves perfectly to imagined sound. It excited me then to read once that a certain order of Buddhist monks would derive inspiration for making music by transcribing patterns such as the grain in new sawn timber or the outlines of mountains against an horizon.

“Music in the Eye” presents four artist/composers who explore visual concepts to be heard in the mind’s ear; Lyell Cresswell, Phil Dadson, Mark Langford & Ivan Zagni.

PD

EVERY SOUND HAS AN OBJECT
EVERY OBJECT HAS A SOUND
EVERY SOUND HAS A RHYTHM
EVERY OBJECT HAS SPACE
ALL SPACE HAS SILENCE
ALL SILENCE HAS ENERGY
ALL ENERGY HAS MOVEMENT
ALL MOVEMENT HAS LIFE
ALL LIFE HAS A SPIRIT
EVERY SPIRIT HAS COLOUR

I Zagni 2010

Thanks to Coopers Beer for sponsoring this event.

Also featuring in the AF screening room -

"Cornelius Cardew's Treatise - Realization" (2002) by Shawn Feeney

Electronic realization of Cornelius Cardew's graphic score, "Treatise". Sine waves are generated from the black areas of the score as it scrolls from right to left, with the y-axis corresponding to pitch. An imaginary vertical line in the center of the screen is the "sounding membrane".

http://www.vimeo.com/24759329

Altmusic is proud to present Hildur Guðnadóttir (pronounced Hill-dur Guth-nah-door-tier) as part of Altmusic's programme of exciting & innovative international musicians touring New Zealand in 2011.

Hildur Ingveldardóttir Guðnadóttir (b. 1982) is a cellist and composer based in Iceland. Best known for her collaborations with múm and guest appearances with Pan Sonic, she has a rich catalogue of collaborations and varied projects behind her, the most recent being the critically acclaimed Mount A (Touch 2010).

“Her themes and melodies are simple, rarely more than a few bars, but the way she overlaps and combines them or pits them against long held tones, gives her music a tension between restless activity and quiet stasis, as well as an intuitive, almost improvised feel” - Dusted magazine

Guðnadóttir likes to explore the nature and movement of sound, and often turns her experiments into sound and visual installations. She recently co-composed a live soundtrack to Derek Jarman's 1980 film In The Shadow of The Sun with legends Throbbing Gristle, arranged choir for performances by them in Austria and London. Guðnadóttir is also a member of Storsveit Nix Noltes (The Nix Noltes Big Band), a rotating cast of 7 to 10 Icelanders playing traditional Bulgarian and Greek dance music. The group has toured the US twice supporting Animal Collective.

Guðnadóttir has collaborated, played and recorded with other artists such as Skúli Sverrisson, Hilmar Jensson, Hafler trio, Jóhann Jóhannsson, Nico Muhly, Valgeir Sigurðsson, Angel, SchneiderTM, Ben Frost and Stilluppsteypa. As a composer she has written music for plays, dance performances and films, pieces for chamber orchestras, various instruments, voices and electronics.

Tour dates are as follows:

Auckland - August 19th at Kenneth Myers Centre with Forgotten Guests, 8pm, $10.
Wellington - August 20th at Adam Art Gallery with Nether Dawn and Seth Frightening, 8pm, $10.
Dunedin - August 25th at Dunedin Public Art Gallery with Mela (Chch), 8.30pm, $10.
Christchurch - August 27th with Seht at Chambers@241gallery, 8pm, $10.

For more press/interview information please contact: chris@audiofoundation.org.nz
Hildur Guðnadóttir website : www.hildurness.com
Altmusic is a programme administered by the Audio Foundation: www.audiofoundation.org.nz

ALL AGES show! Its a buzzy lil' afternoon, of bleeps, tunes, blipped out glitch tronica and big arse bass. In other words , its all pretty much genre free electronic music, there may be some live drums, there will be a visual psych- buffet provided by WIRED VISUAL.
You may remember him from THE VOLCANIC SEX PARTIES of 2010

DOTEYES is mean. [sEE link below]
MOPPY is mean. I mean, I'm mean. I mean I'm pretty good.
And FOREST SPIRITS defs mean.

The MOPPY album MOKAI will be available, you can get into the show for a cool ten with the album or with out the album for 5. Just warning you its a tape, and it sounds better on that format. But it has a download as well.

To get to the venue, head down the bottom of the stairs at St Kevins,
hang a left towards the PARISIAN TIE AND BELT FACTORY, and you will see the small Audio Foundation sign.
this venue is Incredible, and offers something that Auckland hasnt had for a while, so come and see for yourself!

Like i said, it starts early, 5pm, we gotta clear out by 10, so if you have other shit to do it shouldnt clash or nuthin.

So bring yourself, a bottle of juice [ ; ) nudge nudge] and a good attitude and be prepared for an experience.

Kind regards,

MOPPY

Furchick (Claire Pannell) is a multi-instrumentalist with numerous releases in New Zealand, USA and Australia. In the 1990s in New Zealand, she played in Katerpillar Tractor Concept, K-Tel Dancers, Claire’s Un-Natural Twin (with the notorious acronym) and Froithead in New Zealand. She then moved to New York where she joined up with Gerard Cosloy and played drums in the improvised noise project Air Traffic Controllers. http://airtrafficcontrolle​rs.bandcamp.com/album/exis​tence-period

While in New York, Claire started and curated the improv nights at the Pink Pony Cafe in the Lower East Side and played with numerous jam bands including The Armaround (with Tom Greenwood's Jackie O Motherfucker). http://www.discogs.com/art​ist/Furchick+w%2F+The+Arma​round

Back in Perth she plays percussion for experimental improv band Brown and previously formed a jam band with Chris Cobilis and Chris Hudson called Sexy Band. http://soundcloud.com/sexy​-band

Her main focus now is on her solo project Furchick. Reviewer Lyndon Blue described Furchick thus: "Each new piece is a nonchalantly delivered slice of experimentalism, at times discordant but never repellent. A playful, adventurous ethic is betrayed by a range of offbeat home-made instruments – like a contraption built from a tin box and a slinky. Meanwhile however, the set recalls a classic avant-garde art aesthetic. There are people in Perth playing with loopers and unconventional instruments, but no-one’s doing anything like this. A performance like Furchick’s will stick in your memory like chocolate on your pearl-white frock."

http://www.youtube.com/watch?v=_zKx_LPZcz8&feature=share

Oranj Punjabi releases cassettes on Sensitive Man Tapes. She recently performed at the Australian leg of the Ladyz in Noyz Festival. “Bundling together time-warping feedback loops, cracked and mangled tape sounds, the pure tonality of no-input mixing desk, and found object manipulation (fed through dirty, hand-molded contact mics), local visual artist Bjorn Futler (aka Oranj Punjabi) places sonority under stress, pushing library recordings of body noise through a thick wall of psychedelic splooey. Here, collage and concept meet an exceptionally tactile approach to the simple pleasures of making noise.” Jon Dale

Mark Bizarre is one half of the mysteriously enigmatic dark experimental artists, Hieronymus Bosch (http://soundcloud.com/hier​onymus-bosch), NZ's longest living Industrial/Dark Ambient sound meisters. This time performing solo, utilising steel and multi layered electronics to create primal pulse rhythmic noise scapes and twisted audio nightmares.

Rahmane is Duncan Bruce who plays ethno-punk/free improvisation/third world electronics. One of his notable accomplishments was playing a vacuum cleaner with the Auckland Philharmonic. He likes to play the saxophone in the old dams around waitakere, cut synthesizer solos out of arab pop cassettes, listening to flamenco records, playing modal open tuned resonator guitar and pump organ dirges.

3pm for a 3.15pm sharp start

The Borderline Salon
Candied Limbs
Stuart James
Malcolm Riddoch

AF HQ is proud to host The Borderline Ballroom’s inaugural Borderline Salon, a stimulating new platform for the presentation and discussion of sonic esoterica, fringe theories and musical musings from beyond the mainstream.

This first event at AF HQ kicks off with a talk by Perth-based Dr Malcolm Riddoch - lecturer in Music Technology at WAAPA, Edith Cowan University and respected electroacoustic performer – who will be speaking about his phenomenological praxis and electroacoustic music.
www.malcolmriddoch.com

This will be followed by the presentation, Audio trainspotting: journeys through the sounds of steam by Lyttelton-based sound artist and Borderline Ballroom member, Stanier Black-Five, in which she will explore the influence of trains at the avant-garde of music.
www.audiofoundation.org.nz/artist/stanier-black-five

When a venue can be found in the Borderline Ballroom’s shaky home territory, the future will see salons hosted in Christchurch as well.

Following this is a rich diversity of performances by three Perth artists here for the Australasian Computer Music Conference
http://www.iticket.co.nz/events/2011/jul/australasian-computer-music-con...

Candied Limbs make free improvised noise like you will have never heard before. Harsh high pitch screams mix with warm subtle bass tones filled in between with mangled, spliced, extended, percussive and chordal environments. Animated in performances that can go from 20 minutes to an hour without a break, Candied Limbs don't sugar coat it.

Stuart James uses Wave Terrain Synthesis and MaxMSP to control sound in live performance. His soundscapes are lush, detailed and generative explorations of the granular nature of sound.

Malcolm Riddoch Variations of Electroacoustic Feedback XI: a work that makes use of the Larsen effect (microphone feedback) to explore the various natural resonant frequencies of the acoustic space.

ALC5 FILM FEST DOUBLE FEATURE:

"The Eye of Night" &
"The Stink Magnetic One-Man-Band Show"

Two music documentaries that honor and celebrate Alan Robert Cameron, also known as ALC5, producer of the alt hip hop group Coco Solid, member of The Hi-Tone Destroyers and initiator of the living room venue "The Eye of Night".

"The Eye of Night" (2011) by D.Thomas Herkes
The live music venue run by ALC5 and Clare McNamara in the living room of their flat above the shops on the main street of Whanganui, a small town in the North Island of New Zealand. Over 80 performances of local, national and international bands occurred under the radar of most but firmly in the sights of many simply powered by one 3-pin outlet in the wall of a conventional living room and the inspiration of a few like minds. Featuring live performances by Die Die Die, Delaney Davison and his 9 piece Ghost Orchestra, The Show is the Rainbow, Sets, The Wrongdoings and featuring over 30 interviews with musicans and people that visited the venue from all over New Zealand.

"The Stink Magnetic One-Man-Band Show" (2007) by ALC5
A documentary by ALC5 following a fairly unconventional travelling one-man-band show around the South Island of New Zealand in the middle of winter. From the opening performances of The Mysterious Tape Man, Boss Christ and Bad Evil at 9am on the interislander to the much anticipated visit to the whiskey museum in Gore, be spell-bound by the occasional sprinkling of actual music-playing, in between other more important road-trip related stuff. Made entirely by one man, Mr ALC5, complete with cameras and microphones fitted in a van as the 4 friends drive from Picton to Dunedin and back again.

"The Eye of Night" & "The Stink Magnetic One-Man-Band Show" show at:
The ARC Theatre, Whanganui, July 1st, 8pm, koha
A Gallery, Dunedin, July 7, 7pm, koha
The NZ Film Archive, Wellington, July 28, 7pm, $6/$8
The Audio Foundation, Auckland, July 29, 7pm, koha

--
STINK MAGNETIC RECORD CO. EST.1998
1ST FLOOR, OLD CHRONICLE BUILDING,
CNR. DREWS AVE & RUTLAND ST,
WHANGANUI, NEW ZEALAND

Grieve Pde (Australia):

Grieve Pde don't really write songs. If you like experimental loop-rovisation, soundtracks, minimalism, delay pedals and men in trio's, Grieve Pde are probably for you. Described by father-in-laws as "sci-fidelity post-rock". Described by mother-in-laws as "loud sometimes". Mostly instrumental but found singing if required. They can often be found playing the same instrument at the same time, or playing completely different instruments at completely different times. They are currently recording under the 500$Limit label but we think the best way to really hear them is by standing in front of them as they play to a room full of strangers. Includes members of The Paper Boat, Save Our Sharks and Traditional Names.

Toy Triptech:

Made from local and imported ingredients. What happens when a kiwi music venue owner meets an unreconstructed Irish punk who has spent too much of his life staring down a microscope at cancer cells, and they become corrupted by exposure to too much Vitamin S?

Rohan Evans and Colin Woods bring you TOY TRIPTECH, exploring the margins between music and noise. Expect a swirling glitchy soundscape wrung from mangled iPod Touch applications and obsolete synthesisers. Drones and sequences wander in and out of consonance and stumble through a beat that can be both pulsating and dysrhythmic. Each performance is unique, being improvised in the moment. Do not expect to dance.

No-Way Sweden:

No-Way Sweden are an Auckland-based 2/3/4-piece group associated with the 500 Dollar Limit label. They describe themselves as sounding like "People selling ice-creams down the aisles of movie theaters in the 50s. "

Something for those into gazing the peripheries; Sefton (Black Yoghurt) Holmes and Nick Graham will be serenading attendees will feedback and loopy loops on Saturday afternoon the 9th of july, entry by koha ($1/$2), ALL AGES WELCOME

Hear This Zine!!

An exhibition looking at the relationship between small press publishing and DIY music in New Zealand. On display will be zines from the last twenty years of underground music, blow-ups of favourite pages, original artwork and a listening post of related music.

The show will open with a screening of live concert footage from Get! Set! Go! Girl Rock Festival shot by Greta Welson.

The exhibition will open on 2 July and carry on throughout the month, and will also be open on Saturday 16 July, during the zine market.

This event is curated by Beth Dawson on behalf of the Audio Foundation.

If you have material you would like to be part of this show please message Ducklingmonster Futurian or email ducklingmonster@gmail.com

Opening: Saturday 2 July, 1pm
Film screening: Saturday 2 July, 2pm
Closing: Sunday 31st July

The High Seas is pleased to announce the release of the first 7" on our new label!
Come celebrate the release of Mossopolis, Nigel Wright's latest release on 7" vinyl, listen to some great music and maybe buy a copy if you feel like it!
To make things even better Greg Malcolm will also be playing a rare Auckland show.

You can buy the 7" before the show at Under The Radar (www.utr.co.nz) or bandcamp (http://nigelwright.bandcamp.com/) or at the show itself!

NIGEL WRIGHT
GREG MALCOLM
8pm Thursday 30th June
Audio Foundation HQ (4 Poynton Tce, basement of Parisian Tie Factory)
$10 or $15 with 7"

NIGEL WRIGHT
Nigel Wright creates slabs of heavy drones, underlying rhythms trying to get out and sometimes succeeding, speakers sometimes complaining.... NW uses his laptop and guitar to aid him in creating these pieces with no particular beginning or ending points, more a filtering of a sound that already exists.
NW also collaborates with Andrew Scott (half of Metal Rouge) as Nest.
http://nigelwright.bandcamp.com/

GREG MALCOLM
Greg Malcolm's solo performances are a mesmerising experience
involving three guitars played with hands, feet and all manner of
household objects. His sound is a beautifully paced, lush world of
chimes, drones, twangs, scrapes and thumps.

A selection of physical musical releases, video works, objects and ephemera produced by Whangerei-based artist Witcyst (aka Michael Veet), whose countless recordings are often presented within jewel-like, handcrafted objects and otherworldly packaging designs.

Witcyst's cassette tapes, lathe-cuts, publications and packaging materials all embody a maximalist visual aesthetic that ranges from giddy psychedelia to terse monochromes - showcasing his unique and dazzling design sensibilities and intense focus on the materiality of audio production.

Answers To Un-known Questions provides a rare glimpse of the sustained visual art practice that has accompanied this internationally renowned artist's audio work.

Witcyst - http://etps-lifespace.blogspot.com/

Audio Foundation - http://audiofoundation.org.nz/

Thanks to CNZ, Artists Alliance and ASB Trust

For the first time in its 7 year history, the mostly virtual Audio Foundation has become a HUB!

We are lucky enough to have found the most wonderful space in the sub basement of the Parisian Tie Factory on Myers Park and we now have an office, gallery, library/film room and venue to complement our online services. So come and join us for a lovely celebratory launch (early attendance essential as we have a 10 pm noise curfew!)

Sat May 14th Opening
6 pm
Free

Gallery:" Big Bang" paintings by Campbell Kneale
Sound: Metal Rouge
Film: Kim Pieters

***

AF Hub Launch Event
7 pm sharp ( noise curfew at 10 pm)
$5.00
***

DJ Rose Quartz

***
Forest Spirits
is the solo electronic project from Liam Richardson. A biology student by day, Liam has been recording ambient electronic music with a focus on cinema for the past two years and has recently released his debut self-titled EP via Sonorous Circle
http://forestspirits.bandcamp.com/
***

Empirical
Empirical are such occasional performers it is fair to wonder if this band really exists. The realities of it are a number of boxes in a Mt Roskill factory that come out to play when the stars align and fortune smiles. In the boxes are machines, machines called shimsaws and playing these machines are two friends - Marcel and Rosy. This is Empirical.
http://www.facebook.com/pages/Marcel-Bear/112357688779329?sk=info
***

Sign of the Hag
Erica Sklenars and Daniel Beban. Zoetropic / strobophonic duet of adapted spinning wheels.
Using old spinning wheels prepared with plastic tabs, contact mics and mirrors, the duo produce flickering sequences of images and whirling pulses of sound.
http://www.youtube.com/watch?v=zX0EdUqPp7Y

Thanks to Creative New Zealand, Artists Alliance, ASB Trust, Lotteries Heritage and Environment, LIons Foundation, Placemakers, Resene and all the generous souls who have donated their time, effort and items towards the opening!

www.albertsbasement.net/mad-nanna/

www.myspace.com/therenderers

www.purplepilgrims.blogspot.com/

www.albertsbasement.net/mad-nanna/

www.myspace.com/therenderers

www.purplepilgrims.blogspot.com/

Bingodisiac / Kaosphere Orchestra / Emit Snake-Beings

contact: snakebeings@gmail.com

The kaosphere / Bingodisiac orchestra are looking for improv musicians to perform the sound track to the film Alchemical Pilgrimage III by Emit Snake-Beings.

The work is experimental in nature, located at the new Audio-foundation venue off Myer's Park (Saturday 18th June and Chocholate theatre Albany (19th June sunday) spaces are available for either/or/both gigs.

Open to musicians / non-musicians / sound makers / noise musicians / classical / jazz /etc /

in fact any style is welcome as the Kaosphere Orchestra allocates short 1-5 minute sections for each musician or group of musicians to interact with the screen film and spontaniously improv play with another musican(s) who are cued to play at that moment-

The idea is to create spontanious musical fusions so a diverse range of styles is welcome. We will try to match instruments based on sound level amplified accoustic etc so that everyone can be heard.

If this sounds like fun and you would like to take part in this experiment read below for more info. or send me an email.

Performers get a share from the door take.

The Bingodisiac Orchestra. (AKA Kaosphere Orchestra)
perform The Alchemical Pilgrimage III (1991 - 2011)
conductors by the Cult of the Dead Light-Bulb (Filamental Orchestra USA).
Experimental semi-improv scratch orchestra, exploring the power of bingo through numbers and their random
associations, perform the foley and musical soundtrack to a collection of films by Emit Snake-Beings.

The improvisations of the Bingodisiac Orchestra (BO) are structured using a system of light-bulbs, numbers and symbols to make changes in the sound. BO/KO musicians await their number to spontaneously improvise with the screen image and the other unknown musicians who also have the same number. Performers bring the image off the screen and deliver it to the audience and several Skye connections transfer live sound from distant countries (Catalonia, Australia, UK, Mexico, India).

The Alchemical Pilgrimage III is an in-process film by Snakebeings, a multi-channelled cross-cut of work 1991-2011 including gritty hand developed super 8mm and Digital HD recorded over a period of 20 years in 6 countries.

Trailer for the upcoming live/virtual performance of Matar al Gato. Presented by Panz4 Troupé, Mexican/Argentinean multimedia art ensemble. April 27th 2011. 07 & 09 p.m. (GMT -6). Further data available soon at http://mataralgato.panz4.com/

Audio Foundation presents another evening of lovely listening with DJs:
01 April · 6 - 10

ROSE QUARTZ
TEDDY WONG
and JON BYWATER

The AF CD Shop and SPACETHINGS Stall will also be there again.
Come along, put ya feet up after April Fool frolics and have a beer with us!
Thanks Scott and Alleluya!

A night of live evil to burn yr ears, itch yr brain and eat yr soul as a midnight snackaroo! cultish.

SATANIC ROCKERS from melbourne backwards

5 SATANS from hell and back

THE HUSSIES from the back door

http://www.youtube.com/watch?v=L_uz8XJIoSM

http://www.youtube.com/watch?v=0nz6g7tUXFM

The Artists Alliance Internship Programme 2011 is now calling for applications from recent graduates for a fixed term, paid internship with the Audio Foundation. The aim of the programme is to provide a valuable opportunity for graduates to obtain significant work experience in the art industry. The programme has been made possible with generous funding from the ASB Community Trust.

Audio Foundation Mission:
Founded in 2004, the Audio Foundation was created to support, promote and preserve innovative audio culture (sound art/experimental music/noise/outsider music/drone music) in NZ
http://www.audiofoundation.org.nz

Audio Foundation Aims:
• To support and promote the creation, production, and dissemination of innovative New Zealand audio projects
• To foster and preserve an identity and history for NZ audio culture, and to promote this to the wider public
• To enable research, development and preservation of creative artistic potential primarily concerned with audio culture
• To facilitate access, engagement and connection from the audio community to the wider arts community
• To maintain and provide a professional integrity through sustained communication, delivery of programs, facilitation and successful initiatives of all kinds

Eligibility

For the purposes of this pilot internship programme those eligible to apply will need to have graduated within the past three years (2008, 2009, 2010) from an Auckland tertiary institution that holds current Artists Alliance Membership. The following institutions are members of Artists Alliance:
o AUT University, School of Art and Design
o Elam School of Fine Arts
o UNITEC School of Design
o Whitecliffe College of Arts & Design

Position Title

Arts Administration Assistant
Reporting to: Director: Zoe Drayton
And AF Trust Board

Brief Description:

To assist the Director of Audio Foundation Charitable Trust

Tasks / Key Responsibilities

Tasks will include but not be limited to:

• Assisting with painting and setup of new venue in Poyton Tce
• Assisting with the organisation of Audio Foundation and Altmusic events
• Assisting with fundraising, sponsorship, grants applications, budgeting, financial reporting and basic book-keeping
• Assisting with publicity and promotion of events and other projects
• Documentation of events
• Updating of website
• Creating database of patrons, sponsors and media
• Digitisation of incoming CDs for the MP3 Library
• Digitisation of video for the Audiovisual Library
• Maintaining and creating efficient administrative systems
• Assisting with liaison, networking, meetings and any other projects that might be realized in the future

Desired Attributes

The successful applicant will be a reliable and organised self-starter with good communication skills. They will need to possess a keen eye for accuracy in detail along with design flair, and a broad knowledge of information technology systems and software. The ability to work under pressure and remain patient with a good sense of humour will be needed. A willingness to learn about or knowledge of and enthusiasm for NZ experimental music is essential.

Timeframe & Remuneration

The internship will consist of a fixed term contract for approximately 20 hours per week for the period April 18 through October 7, 2011. Remuneration will be $16 per hour.
How to Apply

Please send your CV including two referees and a covering letter explaining why you think you would be suitable for the above position to:

Amberleigh Carson
Artists Alliance
1 Ponsonby Road
Newton, Auckland 1011
Or email: admin@artistsalliance.org.nz

Deadline for Applications

Applications must be completed in full and returned to the Artists Alliance office (details above) no later than 4pm April 1, 2011. Interviews will take place during the week of April 4-8, 2011.

What is Artists Alliance?

Artists Alliance is the national organisation for visual artists. Established in 1991, Artists Alliance has represented and advanced the professional interests of the visual artists of Aotearoa/New Zealand for 20 years. In providing resources, career advice, networks and advocacy Artists Alliance is the trusted source of information for the visual arts sector. To learn more go to the website: www.artistsalliance.org.nz
Artists Alliance receives significant funding from Creative New Zealand and ASB Community Trust.

PRESS RELEASE:
Dubbed as “one of the most interesting, if hopelessly below-the-pop-culture-radar bands in New Zealand,” the irrepressible two-piece of mr sterile and Chrissie Butler have reeled in the brilliance of a swathe of Aotearoa’s finest musicans and artists.

On the musical front, Jeff Henderson of screaming jazz improv saxophone fame has layered up the weighty melodics, alongside the scattering of gamelan by Nell Thomas (Orchestra of Spheres) and the solid bass grooves of Aaron Lloydd. Dean Hapeta aka Te Kupu, Upper Hutt Posse, has been a key collaborator on the project, recording all the vox, sax and extra sounds as well as contributing his own vox and text. Lyrical collaborations with Wellington poet Maria McMillan have also been woven in.

The gathering of the 11 images for the eleven tracks has been a momentous effort. Eight of the works have been commissioned specifically for Transit. The artists, Andrew Ross, Deborah Barton, James Robinson, Campbell Kneale, Stefan Neville, Kerry-Ann Lee, Jeff Henderson, and Garage Collective, responded as they desired, creating a powerful collection to accompany the songs. Two works are from artists Tao Wells and Roger Morris, who have gifted established works to be tagged to the songs. The eleventh art work is a very special Wayang puppet received as a gifted when the Assembly played in Java on their south east Asia tour in 2007.

The melee has been mixed and mastered by the fine hands of Mike Gibson and the sound is fat, rich, and challenging. This is not lounge music. This is music to shake yourself to, to play loud, and to bask in the musicianship of shape, form and delivery.

In 2011 mr sterile Assembly will tour the exhibition across the country in between tours to Australia in April, and Singapore, Malaysia, Indonesia and the Philippines in July.

Transit has been released by skirted Records (NZ), and Tenzenmen (Aus), with the support of Creative New Zealand.

Lines of Flight 2011 - Festival of Experimental music and film
24, 25, 26 March 2011,
Port Chalmers, Dunedin.

Lines of Flight was first held in 2000 as a festival for experimental/improvised music (however you like to define that!) and film, and this will be the 6th time it has been held. It is part of the Dunedin Fringe Festival, and showcases the finest in New Zealand sonic exploration!

Lineups are now confirmed, and are as follows:

Thursday 24th March, 8pm at Chicks Hotel, Port Chalmers
- Seht (Wgtn)
- Lee Noyes and Radio Cegeste (Dun)
- Sign of the Hag (Wgtn)
- Eye (Dun)

Friday 25th March, 8pm at Chicks Hotel, Port Chalmers
- Mela (Chch)
- Our Love Will Destroy the World (Wgtn)
- Kusum Normoyle (Sydney)
- Dead C (Dn/Chch)

Saturday 26th March, 2pm at Masonic Lodge, Port Chalmers
- The Forgotten Guests (Dun)
- Alastair Galbraith (Dun)
- Hi-Asobi (Peter Wright, Antony Milton, David Kahn) (Chch)

Saturday 26th March, 8pm at Chicks Hotel, Port Chalmers
- Stanier Black-Five (Chch)
- Pumice (Auck)
- Rosy Parlane (Auck)
- Futurians (Dun)

The three evening shows will be at the historic Chicks Hotel, and the Saturday day-time show will be at the Port Chalmers Masonic Lodge (another wonderful space).

All shows start promptly, and are $10 full price/$8 concessions.

There is also a blog - http://linesofflight2011.blogspot.com/

THE AUDIO FOUNDATION LISTENING LOUNGE

as part of White Night presented by Auckland Art Festival 2011

with DJ's:

Alan Holt
Teddy Wong
Rosy Parlane
Jon Bywater
and Stevie Kaye

6 pm - 11 pm Sat March 12th @ Alleluya Cafe

Free Entry

With RURU, Spacethings and the AF CD Shop

Come take a break from the sifting crowds on K Rd, peruse the wares and sit down with a drink, pizza and some great sounds.

http://www.aucklandfestival.co.nz/events/white-night-karangahape-road-(k'-rd).aspx

Maryrose Crook’s spectral voice and calenture tunes float through New Zealand giants, The Renderers’ psychic country-punk and splatter rock, and emerge in her solo encounters with horripilated grace and filigree menace.

Purple pilgrims’ wraithish hymns evolve through a braided field of curled nautical drone and distant littoral roar, abstract thrums and change-rung celestial rustle.

Thje’s Alex Donnithorne pulls slowly aggregated and crushed guitar hum clusters in and out of focus in his OST zones to deflagrated UFO movies.

http://hspgallery.blogspot.com
http://purplepilgrims.blogspot.com/
http://thje.bandcamp.com/

$5 Entry, All Ages

The Woolshed Sessions proudly announce a rare reunion, playing two shows in Hawke’s Bay and Wellington this March.

The band’s first live appearances in over a year, and their only summer performances, are at Underground Wine Cellar at Black Barn Vineyard, Hawke’s Bay and San Francisco Bathhouse, Wellington.

The acoustic folk band released the critically acclaimed The Woolshed Sessions in 2008, cementing a unique musical vision that captured the ambient resonance of the Takaka woolshed where the music was created and recorded. Lately however, the eight musicians have seen a lot less of each other due to the demands of their own music projects.

“The new shows are an opportunity for good friends to catch up and play each other’s music again," singer, songwriter Age Pryor said. “Audiences will have an opportunity to hear in a live setting the songs that formed The Woolshed Sessions album, as well as being treated to some new material.”

The Woolshed Sessions proudly announce a rare reunion, playing two shows in Wellington and Hawke’s Bay this March.

The band’s first live appearances in over a year, and their only summer performances, are at San Francisco Bathhouse, Wellington and Underground Wine Cellar at Black Barn Vineyard, Hawke’s Bay.

The acoustic folk band released the critically acclaimed The Woolshed Sessions in 2008, cementing a unique musical vision that captured the ambient resonance of the Takaka woolshed where the music was created and recorded. Lately however, the eight musicians have seen a lot less of each other due to the demands of their own music projects.

“The new shows are an opportunity for good friends to catch up and play each other’s music again," singer, songwriter Age Pryor said. “Audiences will have an opportunity to hear in a live setting the songs that formed The Woolshed Sessions album, as well as being treated to some new material.”

LA LAKERS
Grokking Cooleyhighharmony glottal gala and retardo growl-concrète Eugenio Miccini style 4 Left Eye.

CARTOON
Scoping Wizards ESP vibration at Acid House Rave 89 Chandal in rabid arpeggio, econo blat, 78rpm Frippertronics.

BUTT SIMPSON
Hospitals/Goslings fidelity Green Hill Zone Theme and Extratone free jazz at Chic-A-Go-Go.

Anla Courtis’ restless safari across a ton of musical borderlands has seen his founding of the legendary and super prolific Argentinean rock unit, Reynols, and collaborations with a constellation of sonic magi, including Lee Ranaldo (Sonic Youth), Damo Suzuki (Can), Makoto Kawabata (Acid Mothers Temple), Yoshimi (Boredoms), Richard Bishop (Sun City Girls), Glenn Donaldson (Jewelled Antler, Thuja), John Oswald, The Skaters, Christina Carter (Charalambides), Astro (C.C.C.C.), Michael Snow, Pauline Oliveros, The Nihilist Spasm Band, and Yoshida Tatsuya (Ruins). His solo work ranges from extreme, bricolage minimalism through hypnotic guitar blues, to obliterated techno, the chamber skronk of "Unstringed Guitar & Cymbals", and the processed failure punk of “Broken Walkman Research”.

Bruce Russell is an artist, composer and writer based in Christchurch, and is the founder of seminal labels, Xpressway and Corpus Hermeticum. His work has appeared on a panoply of labels, including Smalltown Supersound, Ecstatic Yod, Spirit of Orr, Siltbreeze and Helicopter. His bands, The Dead C and A Handful of Dust have appeared on an equally formidable array of imprints. Russell has recorded with the likes of AMM’s Eddie Prevost, Mattin, John Wiese, RLW, Tetuzi Akiyama and Birchville Cat Motel, and has performed alongside a similar host of like minded, but diverse artists.

Hi-Asobi’s Peter Wright, Antony Milton and David Khan invent a flecked din of sparring drone guitar, ET electronics, malware keyboard bondage and dialled-in choral objection, before departing to play the fabled Lines of Flight festival in Dunedin.

Ryan Bennett’s CARTOON contorts between the thug squelch and helium rapture of the acid house anthem, ‘Da Way U Work’, glam shred of Nitro’s Michael Angelo Batio, DMT visions of Superjail!, and squishy, neon rococo of DJ Pica Pica Pica. He plays in Dorkwind and Butt Simpson as well.

BRIAN CROOK communicates cimmerian drawl and axe scree through The Renderers, and buzzy elegiac sludge through Siltbreeze alum, The Terminals, and Kranky's Flies Inside the Sun.

SEAN O'REILLY's stranded, laconic songs are cloaked in umbral guitar flutter, day-dreamt arpeggi and revenant hums, pre-echoed by his gnarly work in King Loser, Olla and Sferic Experiment.

OCTOPUS' Liz Matthews (Hairdos, Evil) and Beth Duckling Monster (Futurians, Rise of the City Cat Cult, Maltese Falcons) cast thrash incantations and alien carols through an exquisite confusion of synth and drum smoke, rhabdomancy style.

LA LAKERS: Crirhythm at Red Cooler Glue Club Make.Believe.

SLIME TIME LIVE and Rose Quartz blog personality, Shea Bermingham feeds highlights from the inner limits of disembodied pop, post-position noise and ventriloquist R&B.

Jason Kahn is a Zürich-based artist from New York, who utilizes electronics, percussion and feedback to scope out commotions of crystalline and carbonated sound. His work has been described as “thrilling, disorienting, and quite startlingly gorgeous” (Dusted), and “discreet, delicate, and rewarding” (Tiny Mixtapes), and he has performed and recorded alongside an intercontinental panoply of musicians, including Arnold Dreyblatt, Christian Marclay, Kevin Drumm, Z'ev, Sainkho Namtchylak, Jason Lescalleet and Otomo Yoshihide, while appearing in solo and group exhibitions at galleries in Delhi, South Korea, Switzerland, USA, Belgium, France, Denmark, Germany, Spain and Australia.

http://jasonkahn.net/

Auckland artist, Richard Francis’ zoned tone generations range from amoebic electronic agitation to ballistic psych abstraction and have appeared on record labels such as Korm Plastics, Digitalis, Students of Decay, Room40, American Tapes, Last Visible Dog, and his own CMR and 20City, alongside co-luminaries like Hair Police, Wolf Eyes, Tarantel, Hush Arbors, James Blackshaw, Volcano the Bear, Tom Carter and Pocahaunted.

http://www.richardfrancis.net.nz/

Antony Milton’s countless excursions into the dominion of eldritch folk and pop have included the curation of the PseudoArcana label (CJA, Birchville Cat Motel, The Skaters, Edward Ruchalski), a myriad of collaborative appearances in groups such as Claypipe, Black Boned Angel, The Stumps, Sunken and MRTYU!, and work for labels like Last Visible Dog, Music Fellowship, Tipped Bowler, Deserted Village, Black Petal, Humbug, Haamumaa, Root Don Lonie and Jeweled Antler.

http://www.pseudoarcana.com/

Anla Courtis is a composer with a playful, imaginative, borderless and truly free handwriting. He uses fragments of sound to build new, cohesive works and barely manipulated, cohesive recordings to construct dissected, cut-up-style tracks. Particular methods and tools are not entirely unimportant, as Courtis still holds a warm feeling towards his analog equipment. He regards the entire world as sound, its emanations as words of a language, which wants to be spoken and reconstructed in the studio and on stage each day.

He was a founding member of Reynols, a group with many albums on labels from the USA, Europe, Japan and New Zealand,

He has also 200 releases solo releases and collaborations in labels like Tonschacht (Germany), Blossoming Noise (USA), No-Fi (UK), RRR (USA), Riot Season (UK), Quasipop (Ukraine), Prele(France), Pink Skulls/Jewelled Antler (USA), C/Psi/P (New Zealand), Antifrost (Greece), Slottet (Sweden) and has toured extensively in Europe, USA, Japan & South America. He has also collaborated live and in studio with artists such as: Pauline Oliveros, Nihilist Spasm Band, Lee Ranaldo (Sonic Youth), Damo Suzuki (ex-Can), Makoto Kawabata (Acid Mothers Temple), Sir Rick Bishop (Sun City Girls), Toshimaru Nakamura, RLW (P16.D4), Daniel Menche, Chris Corsano, Lasse Marhaug, Yoshimi (Boredoms), John Oswald, Solid Eye (L.A.F.M.S.), Masonna, KK Null, Axel Dörner, Zbigniew Karkowski, Mats Gustafsson,Thomas Dimuzio, Rudolf Eb.Er.(Runzelstirn & Gürgelstock), Kouhei Matsunaga, Ashtray Navigations, MSBR, The Moglass, Seiichi Yamamoto (Boredoms), Yoshida Tatsuya (Ruins), Antony Milton, Campbell Kneale, Tabata (Zeni Geva), Culver, Tetuzi Akiyama, Stilluppsteypa, Paul Dutton and Francisco López

Anla Courtis is a composer with a playful, imaginative, borderless and truly free handwriting. He uses fragments of sound to build new, cohesive works and barely manipulated, cohesive recordings to construct dissected, cut-up-style tracks. Particular methods and tools are not entirely unimportant, as Courtis still holds a warm feeling towards his analog equipment. He regards the entire world as sound, its emanations as words of a language, which wants to be spoken and reconstructed in the studio and on stage each day.

He was a founding member of Reynols, a group with many albums on labels from the USA, Europe, Japan and New Zealand,

He has also 200 releases solo releases and collaborations in labels like Tonschacht (Germany), Blossoming Noise (USA), No-Fi (UK), RRR (USA), Riot Season (UK), Quasipop (Ukraine), Prele(France), Pink Skulls/Jewelled Antler (USA), C/Psi/P (New Zealand), Antifrost (Greece), Slottet (Sweden) and has toured extensively in Europe, USA, Japan & South America. He has also collaborated live and in studio with artists such as: Pauline Oliveros, Nihilist Spasm Band, Lee Ranaldo (Sonic Youth), Damo Suzuki (ex-Can), Makoto Kawabata (Acid Mothers Temple), Sir Rick Bishop (Sun City Girls), Toshimaru Nakamura, RLW (P16.D4), Daniel Menche, Chris Corsano, Lasse Marhaug, Yoshimi (Boredoms), John Oswald, Solid Eye (L.A.F.M.S.), Masonna, KK Null, Axel Dörner, Zbigniew Karkowski, Mats Gustafsson,Thomas Dimuzio, Rudolf Eb.Er.(Runzelstirn & Gürgelstock), Kouhei Matsunaga, Ashtray Navigations, MSBR, The Moglass, Seiichi Yamamoto (Boredoms), Yoshida Tatsuya (Ruins), Antony Milton, Campbell Kneale, Tabata (Zeni Geva), Culver, Tetuzi Akiyama, Stilluppsteypa, Paul Dutton and Francisco López.

Anla Courtis (ARG)
presents

REDISCOVERING ARGENTINE SILENT CINEMA: 1900-1928

This film contains some of the earliest images produced by Argentine cinematography. It compiles several short scenes that were shot in 35mm from 1900 to 1928, many of them by pioneers and unknown filmmakers. Most of this stuff has not been screened in public for many years and it has an important documental and filmic value. Originally these movies were exhibited along with live music. In this program the sound will come from a live music performance oriented to experimental drone and abstract noise.

The compilation includes images from the following short films: La Revolución de Mayo (1910) by Mario Gallo, El Ascenso del Globo Huracán, Festejos del Centenario de la Revolución (1910) -unknown-, La Pampa (1922) & Exposición de la Industria (1924) “Buenos Aires”(1924-5), “Diario La Nacion” (1925) by Federico Valle, Vistas y Actualidades (1910-1927) produced by Max Glücksmann. “Sociedad Rural Argentina” –fragment-, Arata-Pardo (1925), “A los toros”, Max Glücksmann (1928).

Historic Research: Andrés Levinson
Selection: Andrés Levinson-Alan Courtis
Edition: Yaré. Sergio Subero, Sergio Bauer & Emiliano Cantore
Live Music by Alan Courtis
Duration: 45 minutes (aprox)

Buenos Aires, 2010.

Kutomo’s Veli-Matti Ikavalko is a Brisbane-based artist from Finland, whose collaborative co-conspirators include the likes of Larkin Grimm (Young God Records, ex-Dirty Projectors), Keijo and the Free Players, and Jani Hirvonen (Uton, Hevoset). His work as Kutomo melts between ceremonial cabin floor folk and medieval-like keyboard reflection, and invokes the psychic liturgical serenity of Hildegard of Bingen via the animist counterpoint of Meredith Monk. His work has appeared on Bedroom Suck (Blank Realm, Kitchen's Floor), Dala Horse (Richard Moult) and Jozik (Hobo Cubes, Bjerga/Iversen).

Witchuals: Devotion doesn’t set with the sun.

Wellington's Orchestra of Spheres’ limitless funk and cosmic highlife explorations are inspired by what they call 'the hypnotic beats of Kuduro, repetitive minimalist Bornean sape music, free jazz and improvised music, and the celestial chimes of gamelan’, but the group stake out their own territory with their prismatic minimalism, soukous-like dizziness and eminent boogie.

www.myspace.com/orchestraofspheres
http://www.soundexplorers.co.nz/artists/orchestra-of-spheres/

A graduate of Sydney’s Conservatorium of Music, Reuben Derrick has appeared in the 20+ member ensemble, Splinter Orchestra, alongside leading Australian experimentalists, Jon Rose, Martin Ng, Jim Denley, Nylstoch, xNoBBQx’s Matt Earle and Robbie Avenaim, at NSW’s The Now Now Festival, with Lucas Abela, Sean Baxter and The UNAUSTRALIANS, while also playing with Greg Malcolm in the trio, The Crust. He is joined by percussionist and electronics witch, Rory Dalley.

http://www.csm.org.nz/People/Reuben-Derrick
http://reubenderrick.bandcamp.com/

Yek Koo's chanson mirages and supernatural lap-steel exaltation is the musical invention of Metal Rouge’s Helga Fassonaki, whose siren conduct has been compared to the work of artists such as Christina Carter, Heather-Leigh Murrary and Fursaxa. As Stunned Records writes, Fassonaki's 'lone voice etches straight to dictaphone the vibrations which have been petrified far too long in mere stone & silicone. Identity awoken in a night of raw fidelity, this oracle’s expression inhabits trance tones and punk-chant poesis'. Her music has appeared on labels next to Steven R. Smith, Sun Araw, CJA, Hush Arbors and Charalambides’ Tom Carter.

Purple Pilgrims is the duo of Clementine and Valentine Nixon. Their ethereal choral summons and tolling guitar noir unfolds across a moony dwelling of sound, transmitting the sisters’ melancholic folk songs.

LA Lakers: Can You Stand the Rain

Andrew Scott and Helga Fassonaki’s Metal Rouge channels what the couple call the ‘forward motion of ecstatic jazz and drugged stasis of NYC loft minimalism circa ’66’, invoking their magical tumult and doomy elation through a vivid moiré of uplifting guitar confusion and requiem-like, choral unease. Based in LA since 2006, they have recorded albums for Digitalis, Stunned, Not Not Fun and their own newborn Emerald Cocoon. They have also toured the US extensively, playing at Root Strata’s renowned On Land festival alongside the likes of Grouper, Oneohtrix Point Never, Charalambides and Daniel Higgs; and Not Not Fun’s Neon Commune, next to Pocahaunted, Pukers, Robedoor and Foot Village.

The Renderers’ noir psych and ritual country is one of New Zealand’s most formidable musical forces, having first appeared on Flying Nun in 1990, and subsequently on Merge, Ajax, Siltbreeze and Last Visible Dog, next to artists such as Neutral Milk Hotel, Lambchop, The Shadow Ring, Guided by Voices and Fursaxa.

Antony Milton’s countless excursions into the dominion of eldritch folk and pop have included the curation of the PseudoArcana label (CJA, Birchville Cat Motel, The Skaters, Edward Ruchalski), a myriad of collaborative appearances in groups such as Claypipe, Black Boned Angel, The Stumps, Sunken and MRTYU!, and work for labels like Last Visible Dog, Music Fellowship, Tipped Bowler, Deserted Village, Black Petal, Humbug, Haamumaa, Root Don Lonie and Jeweled Antler.

Adam Willetts is a musician from Christchurch, whose synthesizer zones slip from babbled reverie to staccato rapture. He has performed and recorded in New Zealand and internationally, alongside musicians such as John Wiese, Tomutonttu, High Places and Dan Deacon.

The Trons begin their album release tour this weekend at the Wine Cellar, along with 4 guitar and a casiotone shoegazers DEAN.

The Trons have no human members, all musicians being machines made from junk and salvaged electronic gear. They have been gigging around 3 years now, being based in the Waikato swamps but also having now ventured twice to Europe to play Prague, Vienna and Berlin. Influences are the Clean, Velvet Underground and Stereolab. Shows include live visuals fed from cameras on the guitar bodies that pick up all the mechanisms.

The album is a CD / DVD combo featuring vids and clips by undergound Hamilton film director Emit Snakebeings.

The guys kick off at 9pm sharp, with the evening winding up at 11pm, in time for the Futurians, Rahmane and the Spunks to take over at the Whammy.

A double bill in the arcade.

a video by the Trons:
http://www.youtube.com/watch?v=VfTVOJdoIvE

the Trons website:
http://www.thetrons.com

album also available at:
http://thetrons.bandcamp.com/
and also in the High Seas!

HSP is pleased to present the Oceanic voyage and tour diary of US and Belgium travelers, MONOPOLY CHILD STAR SEARCHERS and DOLPHINS INTO THE FUTURE.

Monopoly Child is The Skaters’ and Pacific City Vision’s Spencer Clark. His ornate, hallucinatory environments are enacted through a Xerox mirage of celestial horse gallop, mizmar-like horn melisma and avian vocal Interpretation. His live performances have been likened to a mix of temple inauguration and 50's Ethnic Folkways bootleg, and his myriad of recorded artifacts surf from devotional pyramid drone and celestial bamboo ritual to the tropical romance audio novel of his most recent vision, ‘Make Mine, Macaw’.

Courtesy of the Ancient Skywatchers of California and Shamans for Levitated Coconuts, amongst other distant bureaus, Clark’s cosmic accretion of tapes, CDrs and LPs have appeared on labels like Old English Spelling Bee, Heavy Tapes, Eclipse and New Age, and he has collaborated and performed with artists such as Tomutonttu, Sonic Youth, Deerhoof, Nurse With Wound, Charalambides, Melvins and Wooden Wand.

Dolphins into the Future is the Antwerp-based, Cetacean Nation Communications and Taped Sounds ambassador, Lieven Martens. Forming his music through a process of ‘automatic writing instigated by dialogues with the cetacean world’, Martens’ warbly and effervescent sonic ecosystems abound with the attuned aquatic energies and tranquility of liquindi percussion, echolocative synth gurgle, Polynesian cantata and tape-collage swirl.

Martens has released music on Kraak, Not Not Fun, Release the Bats, and his own evolving imprints, which have also played host to an array of artists such as, Oneohtrix Point Never, Orphan Fairytale, Kraus, J.D. Emmanuel, Emeralds’ Steve Hauschildt and James Ferraro. Dolphins’ radiant musical glare and calming ascension emerges from an innerspace of reflective elation and Higher Intelligence.

Thanks to Kraak, High Reflections, Obedient Atom, Adam Art Gallery, Happy, Disembraining Machine, Micronations, and Altmusic NZ for their support. Tickets available from http://www.undertheradar.co.nz/

TOUR DATES:

Melbourne Thursday December 2nd, Sunshine & Grease with Mouving and Tim Coster

Brisbane Friday December 3rd, The Old Museum

Sydney Saturday December 4th, Serial Space with Ben Byrne and Pimmon

Christchurch aquarium/temple installation and culminating performance Saturday December 11th, HSP with LA Lakers

Dunedin Sunday December 12th, Chicks Hotel with LA Lakers

Wellington Thursday December 16th, Happy with I.Ryoko and Sign of the Hag

Auckland Saturday December 18th, Wine Cellar with Octopus

HSP is pleased to present the NZ tour of processional dub and crypt punk diviners, FABULOUS DIAMONDS from Melbourne, Australia. Following their US excursion alongside Pigeons and Wet Hair, and their sophomore LP on Siltbreeze (Times New Viking, Sic Alps, US Girls), the duo’s heavenly garage anthems, liminal haunt funk, and transfixing, psychedelic mantras are poised to captivate audiences around the country in mid-December.

Likened to a lysergic union of Lee Perry, Terry Riley, Suicide, Silver Apples and Young Marble Giants, what Pitchfork calls Fabulous Diamonds’ ‘part pagan sleepover incantation’ and ‘lush and trippy’ minimalism is a UFO potion of radiant synth arpeggia, lock-groove futurist-Baroque riffage, celestial chant and post-disco percussive clatter that has a disquieting, modal beauty and entrancing, cosmic unease. This is the duo’s first NZ visit.

TOUR DATES:

Auckland Friday 10 December, Wine Cellar with Sam Hamilton and The Gladeyes. $14 presales from UTR

Wellington Saturday 11 December, Happy with Diana Rozz and Orchestra of Spheres. $14 presales from UTR

Christchurch Saturday 18 December, HSP with Witchuals and Luxury. $9 presales from UTR

Assembling a lawless foreground of surgical gabber delirium and ADHD syncopation against a kaleidoscopic milieu of crystalline keyboard churn and string-like electric skuzz, Dunedin’s BLACK YOGHURT ghosts a hyped-up line of inquiry misled by the likes of Duran Duran Duran, Shitmat and Kid 606, while instituting an especially rabid bipolar fuckedness that flicks between club-chill and -seizure. Vandalizing a laptop palette of tim...estretched and ricocheted snare pow, detourned Garageband presets, puerile gurgles and samplerature like 'hey thanks for killing my mom ('hey no problem'), Black Yoghurt is both shape-shifting and straightjacketed.

Dunedin compatriot, GLASGOW performs a just as convulsive but further distracted arcade of glitched beat-repeat funk, pizzicato boink and downbeat but lacunae-filled lounge bedlam. He also plays in Bastardwisher and Old Psychiatrists Club.

GOD DESTROYER is the ambient guitar project of Dakota’s Fanny’s Alex Donnithorne and Bang Bang Eche’s James Sullivan.

Come on time; pay what you want.

The first 500 tickets to Wellington's first taste of Tiger Translate but the good folk behind this event of massive proportions, released a second limited number of tickets now.

Head to heytiger.co.nz to secure yours now.
Fill in your details and Under the Radar will email you your ticket details. Print it out, bring it along on the night and get the party started. Doors open at 9pm.

This is the first time Tiger Translate lands in Wellington and the internationally-acclaimed art and music mash is set to transform the Opera House and the Opera House Lane.

You won't want to miss this: Riki Gooch, Parks and Julien Dyne, Homebrew Crew, Orchestra of Spheres, 47 Diamantes and Tommy Ill, Adi Dick, The Jewel School, Electric Wire Hustle, DJ Alphabethead, Scratch 22, Fried Chicken Sound System

Plus as Mike Stribrny from Tiger Beer says, “Tiger Translate is all about merging the East and the West, so we’re excited to be bringing some Eastern artists down to join us and collaborate with their Kiwi counterparts on the night.”

Translate Wellington will feature Mongolian artist Orkhontuul B and Song Yang from China, who will each be partnered with New Zealand artists Drypnz and Eeks to see what sort of mash up they can create together live during the event.

Joining these international artists is DJ Zoloo from Mongolia.
Plus a mixture of Wellington's conceptual artists creating installations, performance art and who knows what else. There will also be live installations by VJs Harry Silver and VJ Rex as well as a few other surprises thrown in to keep you guessing.

So don’t miss out, visit www.heytiger.co.nz for tickets and more information.

Once it leaves Wellington, Tiger Translate, and the international artists from Mongolia and China, head to Melbourne for the next global Translate event on Sunday, 28 November.

The ‘ambient cassette musick’ of VDO is the product of Melbourne artists, Joshua Petherick and Christopher L.G. Hill. Their "Wholesale", "Retail" and "Opportunity Shopping" releases on Bunyip Trax are a window display of croupy choral riffage, containing pausal but eternal preludes of fucked tapery and crypt dronology. Hill is the co-director of Y3K Gallery and both contribute to jahjahsphinx.blogspot.com. Petherick and Hill's performance coincides with their exhibition appearance at Gambia Castle.
http://www.joshuapetherick.com/books
http://www.myspace.com/moffarfarfarrah

SF’s raga-like guitar gleam and oneironautical songs are the invention of King Loser, Olla, Sferic Experiment, .303 Concrete and Renderers alum, Sean O’Reilly. His solo work has appeared on Flying Nun – including the “Where In The World Is Wendy Broccoli?” compilation alongside Pin Group, Dimmer, Snapper and Chris Knox – and Dungeon Taxis. Compared by The Wire/Volcanic Tongue’s David Keenan to ‘your favourite Dead C brokedown fade-out’, SF’s sonic zones are ceiling zero but cuttingly hypnotic.

Tim Coster is an ex-Auckland artist based in Melbourne, whose extensive visual and aural work has involved the curation of two labels – Claudia and Fictitious Sighs – collaborative performances and sound projects alongside the likes of Machinefabriek, Peaking Lights, Metal Rouge and Richard Francis, and installations at the Auckland Museum and HSP in Christchurch. His music is an elusive coalescence of sounds threaded together through adroit alchemies, varying from the fabric patter of his earlier solo recordings to the stochastic h-punk of Velvet Hour and mirage R&B of Currer Bells.
http://www.myspace.com/timcoster

LA Lakers groks the essence of the voice through Dracula Sneeze and ventriloquist hoax. His nursery slurp, hymnal glissandi and chanson redaction is myxophiliac, glomming the laryngeal idols of Lisa Suckdog and the Mamas and the Papas.

The aerogel pop and droplet house of Awesome Vortex is the product of Christchurch and Melbourne synthetists, Adam Willetts and Tim Coster. Like a fake meeting between Koji Kondo and Ussachevsky in a fibreoptic canopy clearing, their elektronische rites are both Otaku geek and Nihilist getdown. Coster is the head of CLaudia (Metal Rouge, Plains, Currer Bells) and new label, Fictitious Sighs (Greens, Pinks and Whites, Vogue Forums, Paeces). Willetts has performed locally and abroad alongside Sun Araw, Ducktails, Akio Suzuki, Dan Deacon and High Places.

Antony Milton, Peter Wright and Mike Minchington are in a microsynth ensemble whose endothermic polyglot of blippage and code-switching end-fire arraydom is intricately wobbly. Milton runs a paragon imprint called Pseudoarcana – a cultural cache of dissident treasures by the likes of The Skaters, Ashtray Navigations, Keijo, Zelienpole, Birchville Cat Motel, Agitated Radio Pilot and Uton. His own music has appeared on labels such as Last Visible Dog, Maggotism International, MYMWLY, Foxglove and Release the Bats. Wright has performed and recorded extensively both in New Zealand and internationally, and has released on Spekk, Students of Decay, Digitalis and Ikuisuus.

Simon Kong’s Occasionals smuggles post-disciplinary funk into the room, setting up an embracive sonic environment that’s both scrambly and see-through. Anapestic tetrameter reimagined by The Belleville Three.

Year One of The AUT Bachelor of Creative Technologies Degree
presents:

AURAL TERRAINS
Explorations in Innovative Sound Making

Audio Foundation has been teaching a four week module on audio culture to students in the Bachelor of Creative Technology at AUT. There are a bunch of very interesting ideas that have come out of this that will be presented to the public in brief performances from 5 - 6 pm this Friday
Come along and check it out!

Year One of The AUT Bachelor of Creative Technologies Degree
presents:

AURAL TERRAINS
Explorations in Innovative Sound Making

Audio Foundation has been teaching a four week module on audio culture to students in the Bachelor of Creative Technology at AUT. There are a bunch of very interesting ideas that have come out of this that will be presented to the public in brief performances from 5 - 6 pm this Friday
Come along and check it out!

vitamin S presents

SUPERFLUX is an ensemble using film, video, sound, and the physicality of performing through these mediums.

SUPERFLUX gather together four improvisers from Grenoble, France who have been involved in experimental film, video and sound making for 15 years.

---------------------

Lafoxe is a live sound-on-film performance duo,
Gaëlle Rouard and Etienne Caire play with two customized 16mm projectors.

This performance is a game of disassembling conventional narrative mechanics. Irreverent and free handling inflicted to films and projectors turns over the spectator. He's the witness of the collapsing narrative pretext and find himself projected in the very matter of the cinematographic process.

A cinema whose ultimate transformation is definitively not placed on the film.

http://www.lionelpalun.com/superflux/lafoxe.html

Filmbase is a video vs cinema 16 mm live improvisation.
Gaëlle Rouard / Étienne Caire

In a genuine gesture of instrumentist, Filmbase develops a set of rythm and texture research, visual and sound compositions, which gives enter to a new substance...

Lionel Palun defined is work as electro-video. In Filmbase he does not use prepared image, he refilms light sent by Riojim. From the software he has developed, he worked in direct image by filtering feedback, delay and movements.

Riojim feeds the equation with his 16 mm films projections. Images are shot and processed at Atelier MTK, a cinema laboratory ( processing, optical printer, editing) for artists.

http://www.lionelpalun.com/superflux/filmbaseE.html

MetalkinG ¡¡¡ EL KINO UP YOUR EARS !!!
Richarles Bronson bass & electronic
Riojim16mm projector

A MetalkinG performance is a concentrated and intense affair : equipped with the barest essentials, a bass guitar and a couple of electronics junks, Bronson improvises fast and loud japanoïse. Riojim work methods are as crudely effective as those of Bronson: he apply severe treatment to the projector, play around with the film and the homemade optical sound-on-film.

http://free.freedom.free.fr/
To SUPERFLUX website
http://www.lionelpalun.com/superflux/

REVIEWS
http://www.lionelpalun.com/superflux/presseE.html

Richard Youngs is one of the most acclaimed, chameleon-like explorers of modern music, traversing a diverse set of distinctive and multi-instrumental forms that encompass avant-folk, psychedelic drone, progressive minimalism, lysergic pop, and rock concréte. The stark, unyielding minimalism of his piano-oriented 1990 debut, Advent, prompted The Wire’s Alan Licht to list it alongside works by Terry Riley, Steve Reich, Phil Niblock, and Tony Conrad as a revelatory favourite of rare minimalism, while Youngs’ subsequent and prolific collaborations with Simon Wickham-Smith as R!!! &S!!! are widely seen as opuses of mind-altering cosmic abstraction, with one critic describing them as ‘Throbbing Gristle reimagined as Zen garden desk accessory’.

From the carnivalesque kazoo-psych and warble of ‘New Angloid Sound’, the heartbreaking candour of ‘Sapphie’ - featuring just Youngs’ plaintive voice and a classical guitar, and likened to a hybrid of Galaxie 500 and Nick Drake - the desolate a cappella of ‘Summer Wanderers’ and gorgeous pastoralism of his collaboration with Tirath Singh Nirmala, to the ‘ecstatic house’ of 2009’s ‘Like A Neuron’, the intrepid, curveball pop of ‘Beyond the Valley of Ultrahits’, and the cyclical, stream-of- consciousness and hymnal ‘Under Stellar Stream’, Youngs’ music remains as evocatively beautiful as it is perennially mutable.

While recording with an array of various collaborators, including Jandek, Vibracathedral Orchestra, Neil Campbell of Astral Social Club, Alastair Galbraith, Matthew Bower of Sunroof, and Makoto Kawabata of Acid Mothers Temple, and appearing on a slew of labels such as VHF (Jack Rose, Pelt, Aethenor, Sandra Bell) and Table of the Elements (John Cale, Fennesz, John Fahey, SunnO)))’s Stephen O’Malley, Sonic Youth’s Lee Ranaldo, Rhys Catham, Faust), Youngs has been reticent as a live performer, playing only a handful of occasions between 2006-2008, at Thurston Moore’s All Tomorrows Parties in 2006, and alongside Jandek and Heather Leigh Murray on European tours.

It is thus a rare and special opportunity to witness in person what Melody Maker has described as the ‘grand-meister of contemporary British improv, spiritual son of Eddie Prevost and Maddy Prior; gentle manipulator of English hymn-notics and religious incantations; protégé, challenger and radicaliser of folk, blues, rock, minimalism and improvisation’.

Auckland: 8pm Thursday 28 October - w/ Alastair Galbraith @ The Classic, 321 Queen St.

Wellington: 9pm Saturday 30 October - w/ Claypipe & Our Love Will Destroy the World @ Happy. $10.

Dunedin: 8:30pm Friday 5 November - w / Alastair Galbraith @ Dunedin Public Art Gallery. $10.

Christchurch: 8pm Saturday 6 November - w / Rachel Shearer & Velvet Hour @ Harbour Light, Lyttelton. $10.

Presales can be purchased from Under the Radar

Altmusic is a series of sound events, funded by Creative New Zealand, featuring respected international sound artists. It is run by the Audio Foundation Charitable Trust (http://www.audiofoundation.org.nz/about), a peer-based facilitative organisation dedicated to New Zealand sound culture, whose events in Christchurch are run by a team of local sound artists and commentators.

Visual/Aural Mediafest.
SUPERFLUX : http://www.lionelpalun.com/superflux

For the last 15 years, Superflux have been engaged in exploring the relationship between performance art and the screen image. Joining forces in different ways,... the members of the collective employ digital technology in concert with treated analogue sound and film, and present this through equally customized equipment. Through performing sound and film, Su...perflux efface boundaries between performance art and art documentation, questioning the idea that aural and visual art media function only as frames – either subservient to performance or invisibly conditioning performance.

The members of Superflux are Richarles Bronson, Lionel Palun, Gaëlle Rouard and Etienne Caire (aka Riojim). On the night, they will join forces to perform as Filmbase (Riojim, Lionel Palun), Lafoxe (Gaëlle Rouard, Riojim) and Metalking (Richarles Bronson, Riojim).

Filmbase

Riojim: 16mm film, customized projectors
Lionel Palun: video

Riojim presents montages that employ variations in speed and optics, and which often involve the expressive, physical deterioration of film. Palun captures these images live, re-processing them through a variety of digital effects. Sound is treated in a similar fashion: the optical track of the film and digital video signals being mixed into automatist music. In this way, Filmbase presents an interactive gestalt of film and video media, blurring distinctions between analogue and digital domains.

Lafoxe

Gaëlle Rouard: 16mm film, customized projectors
Riojim: 16mm film, customized projectors

Lafoxe re-use and re-make found 16mm footage – often from Hollywood’s ‘golden age.’ The source films are re-edited, re-processed, re-printed, treated and coloured, then re-presented as cinematic play. In a process of reiteration that inescapably fragments and reconstructs the past, Lafoxe subverts the status of film as a record of objective truth; a reassurance that time passes in a predictable, linear sequence. This playing with cinematic convention generates drama and suspense as spectators strive to make coherent Lafoxe’s improvised ‘narration for the eyes with its… apocalyptic skids in hyperscope.’

Metalking

Richarles Bronson: bass, toys
Riojim: 16mm film, customized projectors

Metalking combine thrilling, bass-heavy, improvised audio with equally startling and expressive visuals. Bronson characterizes his practice as eliminating narratives and questioning of linearity in order to ‘sculpt a sonic, compact and sensual mass, which not only appeals to the ear but also questions the place of the body in hearing.’ A similar sense of de-centering and displacement is evident in Riojim’s 16mm films where a
continuous stream of images blister and burn – first on the emulsion, then onto the retina and psyche. Can images be noisy? Can noise spark visions? The evidence of Metalking’s audiovisual synaesthesia would appear to be: of course!

Gaëlle Rouard, Lionel Palun, Richarles Bronson and Riojim have been members of the programming team at the 102, a venue dedicated to experimental music and cinema.
They're involved in improvisation for 15 years. They played with Jérome Nœtinger, eriKm, Keithe Rowe, Michel Doneda, Lê Quan Ninh, Lionel Marchetti…
Gaëlle Rouard and Riojim run the Atelier MTK, a cinema laboratory open to artists. www.filmlabs.org

Fckn Killer Sun is a reincarnation of the ecstatic psych trio, Glory Fckn Sun. Joan Armatrading sits in for expatriate, Ben Spiers and splashes it alongside Antony Milton and gong-brain percussionist, Simon O’Rorke. Mimaroglu has described Glory’s Tipped Bowler LP as a set of ‘gorgeous, muted improv-psych extrapolations, jointly knit into a batch of tight guitar / violin / percussion burners’. Live, it’s an oceanic churn that invokes the martial lunacy and bad romance of Fushitsusha, the disaster jazz crumble of Hair Police and, as Milton’s PseudoArcana posits, the delicate seethe of Flies Inside the Sun.

Brian Crook’s work in the seminal groups, The Renderers, Flies Inside the Sun, Scorched Earth Policy and The Terminals remains one of the most significant contributions to fried exploratory music both in New Zealand and internationally. Bible Black is an equally pioneering introspection – a distillation of the lullaby sneer, curveball shred inventions and blazed country haunts that infect his work elsewhere.

Preternatural traveler, Simon O'Rorke colludes with reed and drum dawgs, Reuben Derrick and Rory Dalley in his eponymous trio.

Sun Araw is the recording project of Long Beach, California resident, Cameron Stallones, who also performs in Magic Lantern, the Not Not Fun garage soul dream team, Vibes, and an erstwhile incarnation of the celebrated ‘outsider Funkadelics’, Pocahaunted.

Augmented live by Nick Malkin, Araw’s blown up, largo funk bass lines, gunky Archimedean Farfisa spiral, tremulous plasma guitar blats, rapturously curly choral polyphonies and lucid swamp is a cinematographic safari that Pitchfork has described as ‘panoramic, dizzyingly huge’.

From the solarized surf splendor of ‘Beach Head’ – imbued with the littoral vibes of Neil Young’s ‘Zuma’ – to the Fela Kuti zones of ‘Heavy Deeds’ and the noir-like cruise through the ‘inter-dimensional back alleys, ghost cabs, and midnight-sweat locker rooms’ of ‘On Patrol’, Stallones conducts a radial dig on a panoply of fadeout, cultural artifacts, refuting the repose of endgame Chillwave.

While out on its own inner voyage, Araw navigates a sunburst tributary where Keith Hudson’s Pick a Dub meets a 70s jam between Terry Riley and Don Cherry and – as Stallones’ commissioned mixes for The Wire magazine and Rose Quartz blog reveal – commemorates the galloping trance-minimalism and exhaled mantras of Pharoah Sanders and brimming canopy ambiance and UFO Junkanoo blues of Exuma.

http://www.laweekly.com/2010-06-10/music/lenticular-matters/%20/
http://www.sunaraw.com/
http://www.myspace.com/sunaraw
http://www.youtube.com/watch?v=-u70hXTJqgM
http://www.dustedmagazine.com/reviews/4171
http://www.gorillavsbear.net/2010/08/25/sun-araw-x-prince-rama/
http://vimeo.com/10472596
http://www.notnotfun.com/

Witchuals: Voyage of the Rock Aliens, Ragam Thanam Pallavi, Straight Edge XXS.

FOR IMMEDIATE RELEASE.

Auckland artist Chris Hargreaves presents The Halo Project
installed at Uxbridge Creative Centre as part of the Manukau Festival of Arts from 15th October - 31st October, 2010.

The dawn chorus is silenced by jet engines... metronomic steps are interrupted by an authoritarian loudspeaker... ebbing waves are broken by playful children...

Artist Chris Hargreaves creates a stunning collision of the sounds of the Manukau region with his sculptural new media exhibition at Uxbridge Centre of Arts as part of the Manukau Festival of Arts 2010.

The Halo Project consists of a large ring or Halo, suspended in midair supporting a series of internal speakers, each playing an edited field recoding form a variety of geographic regions throughout Manukau. Viewers are confronted by the discordant soundtracks playing the sometimes forgotten aspects of our environment as people involve themselves with the routine of busy day to day life. The sculpture offers the viewer a chance to pause and reflect and to trigger nostalgic thoughts and memories through music, sound and audio reproduction.

The Halo Project promotes discussion and debate through discourse in contemporary art practice particularly in sculpture and new media within a New Zealand and local Manukau City context by engaging a diverse audience and encouraging interaction with contemporary art practice through familiarity, memories and popular culture.

Chris Hargreaves was born in 1981. In 2003 he graduated from UNITEC with a Bachelor of Design (Sculpture) (Hons). He lives and works in Auckland and regularly exhibits throughout New Zealand.

Notable projects include:
Splore Festival 2010; Sculpture in the Gardens, Auckland Botanical Gardens, 2009 -10; Sculpture on the Gulf, Waiheke Island, 2009; a 2008 commission for Brick Bay Sculpture Park, Matakana; Transpositional Migration (2005–06), Te Tuhi, Auckland; Sea/Soar (2004), Blue Oyster Gallery, Dunedin; Follow the White Rabbit (2003), ARTSPACE, Auckland.

Hargreaves is interested in the way the interpretation of the familiar object can be changed when it is re-contextualised, in notions of truth and nostalgia, in the way people interact with and build relationships for material objects, and how this can alter what we perceive to be real or genuine.

Manukau Arts Festival:
15th October - 31st October. 2010
Official Opening 26th October 6:30pm
Uxbridge Centre for Arts

Artist Talk
Saturday, 30th October 11am

Jan Anderzén is a Finnish artist whose visual practice is a kaleidoscopic ghosting of his celebrated sonic wanderlust in Kemialliset Ystävät and Tomutonttu.

His collagist, painterly work is heavily populated with furry geometries and carnivalesque planes that stick out with playful grace into alien fields of ebullient, mycological action, trippy galactic splatter, and dripped up creaturedom.

‘Nuotteja’ is a graphic score that crawls around the walls, consisting of a series of mandalas painted on shitty 7"s, various paper notation works, and a suspended, musical stave that forms the basis of an accumulative composition of vibrant debris: Yuletide refuse, incandescent trash and fresh produce.

Anderzén’s visit has been made possible by Altmusic, through their national touring of Tomutonttu. http://altmusicnz2010.blogspot.com/

undrawing is a conceptual audiovisual performance group. It is three multi-instrumentalists and one visual designer, exploring the live creation and development of sound and animation in tandem.
http://www.undrawing.org/

Job Club is the solo ‘tape and sequencer’ based project of Damian Golfinopoulos.
...Think long form expanses of dark Kraut-like motorik rhythms, mixed with the manic sample heavy electronics of acts like ‘Black Dice’.

This debut performance will be a live soundtrack accompaniment to ‘Bill & Sue’s New Home’; a found VHS tape that documents an elderly couple moving into their new suburban home. It features audio-scape excercpts from NZ noise pioneer ‘Crude’ and heavy bass drones made by painter Andrew Mcleod under the name ‘Chronic Fatigue Syndrome’.

Damian is a self employed audio engineer that works from a 100 year old dog pound that he has converted into a recording studio. He also plays in synth/rap/noise duo Stress Cadet and co-publishes a 'found-art' zine called 'Health, Wealth & Happiness'.

The Borderline Ballroom, in association with Christchurch Art Gallery Te Puna O Waiwhetu, is pleased to present Superflux – a quartet of artists from Grenoble, France who, for the last fifteen years, have been engaged in exploring the relationship between performance art and the screen image. Joining forces to present several related projects, the members of the collective employ digital technology in concert with treated analogue sound and film, and present this through equally customized equipment. Through performing sound and film, Superflux efface boundaries between performance art and art documentation, questioning the idea that aural and visual art media function only as frames – either subservient to performance or invisibly conditioning performance.

The members of Superflux are Richarles Bronson, Lionel Palun, Gaëlle Rouard and Etienne Caire (aka Riojim). On the night, they will perform as Filmbase (Riojim, Lionel Palun), Lafoxe (Gaëlle Rouard, Riojim) and Metalking (Richarles Bronson, Riojim).

Filmbase

Riojim: 16mm film, customized projectors
Lionel Palun: video

Riojim presents montages that employ variations in speed and optics, and which often involve the expressive, physical deterioration of film. Palun captures these images live, re-processing them through a variety of digital effects. Sound is treated in a similar fashion: the optical track of the film and digital video signals being mixed into automatist music. In this way, Filmbase presents an interactive gestalt of film and video media, blurring distinctions between analogue and digital domains.

Lafoxe

Gaëlle Rouard: 16mm film, customized projectors
Riojim: 16mm film, customized projectors

Lafoxe re-use and re-make found 16mm footage – often from Hollywood’s ‘golden age.’ The source films are re-edited, re-processed, re-printed, treated and coloured, then re-presented as cinematic play. In a process of reiteration that inescapably fragments and reconstructs the past, Lafoxe subverts the status of film as a record of objective truth; a reassurance that time passes in a predictable, linear sequence. This playing with cinematic convention generates drama and suspense as spectators strive to make coherent Lafoxe’s improvised ‘narration for the eyes with its… apocalyptic skids in hyperscope.’

Metalking

Richarles Bronson: bass, toys
Riojim: 16mm film, customized projectors

Metalking combine thrilling, bass-heavy, improvised audio with equally startling and expressive visuals. Bronson characterizes his practice as eliminating narratives and linearity in order to ‘sculpt a sonic, compact and sensual mass, which not only appeals to the ear but also questions the place of the body in hearing.’ A similar sense of de-centering and displacement is evident in Riojim’s 16mm films where a continuous stream of images blister and burn – first on the emulsion, then onto the retina and psyche. Can images be noisy? Can noise spark visions? The evidence of Metalking’s audiovisual synaesthesia would appear to be: of course!

Superflux (main web page): http://www.lionelpalun.com/superflux/indexE.html

Auckland: 8pm Friday 17 September - w/ Sunken (Antony Milton and Stefan Neville) @ Sky Bears Cuddle Den, 21 Mercury Lane (Next to Mercury Plaza).

Wellington: 8pm Saturday 18 September - w/ Seht & Full Fucking Moon @ Frederick Street Sound and Light Exploration Society, 46 Frederick Street.

Dunedin: 9pm Friday 24 September - w/ Rotor Plus & Tillakaratne @ None Gallery, 24 Stafford Street.

Christchurch: 8pm Saturday 25 September - w/ IRD & Adam Willetts @ The Physics Room.

Tomutonttu is the solo project of Jan Anderzén, a visual artist and musician from Tampere, Finland, whose pivotal role in Kemialliset Ystävät and collaborative raids in Avarus and Anaksimandros has - alongside Fonal label colleagues, Es, Paavoharju, Kuupuu, Islaja, Fricara Pacchu, Lau Nau and Shogun Kunitoki - elevated the Finnish experimental underground into a Renaissance-like state, its cross-pollinating telepathy producing some of the most acclaimed records and performances since the mid 2000s, while setting a universal example for communal musical exploration.

The most prolific of the Fonal stable and its related tributaries, Anderzen’s music has also appeared on labels such as Ultra Eczema (Lucky Dragons & Yacht, Orphan Fairytale, Wolf Eyes), Fat Cat (Animal Collective, Black Dice, Múm), Dekorder (Richard Youngs, Xela) Lal Lal Lal (The Skaters, Javelin, Keijo), Jewelled Antler (Skygreen Leopards, Steven R. Smith) and Imvated/Taped Sounds Christina Carter, The Futurians, Ignatz, Thurston Moore, Magik Markers). In 2008, Anderzén toured and recorded on the Approximately Infinite Universe Tour. A Caravan of Raw Sound Magic from Finland and the US, with Blevin Blectum, Axolotl, Sumara Lubelski, Fursaxa and members of The Skaters and No Neck Blues Band. He has also held workshops and played a series of concerts for school children at the planetarium of his hometown.

Anderzen’s wraithlike powwow, weirdo choral ascents, elated bleeps, bubbly glossolalia and poltergeist thumps coalesce in a captivating sylvan kaleidoscope of psych hyperbole in all his projects, but it is live, in his solo incarnation as Tomutonttu that these magnetic qualities are best articulated. As unassailable blog, Mutant Sounds has described, Tomutonttu is a 'delightful traipse through a verdant forest of ergot poisoned art brut psychedelic deconstructionism; all wobbly string fumble, lobotomized key wheeze and detuned flute toot that’s wonderfully right in it's ungainly "wrongness"'.

Established in 2001 and now organized by committees in every major city in New Zealand under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and experimental music from around the world to New Zealand. This year, the programme has continued with each city curating its own event and touring this around NZ.

Liz Harris’ return to Christchurch precedes the release of the ‘Hold/Sick’ 7” on Brisbane Label, Room40 and her tours of Australia, Japan and South Korea. Since her last appearance in Christchurch in early 2009, Harris has recorded a split alongside Roy Montgomery – with her contribution toted by Pitchfork as ‘among her most focused and spellbinding to date’ – a side on Root Strata’s a capella 7” series, ‘Tsuki No Seika’, next to Type label’s Xela, and re-issued editions of her incredible, earlier works,’ Cover the Windows and the Walls’, ‘Wide’, and ‘Dragging A Dead Deer Up A Hill’. She has recently toured alongside Animal Collective in the US and played at All Tomorrow’s Parties’ ‘The Fans Strike Back!’ weekend alongside Devo, Beirut, M83, !!! and Lydia Lunch. Oriented around empyrean choral deltas, cyclical cassette scree, and endeared, zero-zero guitar straits, Grouper’s music is gorgeous on record, and transcendental live.

http://hspgallery.blogspot.com/
http://sites.google.com/site/yellowelectric/Grouper
http://drinkingfountainfromturboisland.blogspot.com/

Kikiilimikilii is the solo project of the founder of the Parisian art group, Collectif Tralala, and band, Feu Machin. He has performed in France, Spain, Estonia and the United States, but keeps a cryptic, abiographical résumé, citing ‘dgdghnfhnfnhf’ as a pretty big influence. He has played alongside Blues Control, Charlemagne Palestine, ‘pyramidal meditationist’ and Not Not Fun compatriot, High Wolf, and Animal Collective’s Deacon. He also has a pending, physical debut on Mexican micro-label, Ruido Horrible (Ryan Jewell, Slow listener, Wasteland Jazz Unit). His music skates between echoic choral terrains, mosquito-drone airspace, and cracked, lacustrine exotica.

http://soundcloud.com/kikiilimikilii

Rainbow Beast is the new disguise of Christchurch’s Mike Minchington, whose hymnal, endless-loop instrumentals and wrung-out guitar cruises have been self-released on an array of pathologically limited cassettes, but he’s a pivotal jam donor – playing and recording alongside Adam Willetts and Witcyst, and in Slit the Throat of the Assistant and Grunge Genocide Drum Pentragram.

http://www.myspace.com/creepyfuture

Alex Donnithorne's Thje rummages through ritual growl, punched slide-acoustic, drum harm and feedback caterwaul on one recording to the Niblock-like organ drift of another. Affinities with Sean Bailey’s Melbourne project, Lakes, here – by way of The Shadow Ring. It’s cool.

http://thje.bandcamp.com/

Noisescape soloist from the band Feu Machin from the collective TraLaLa, Paris. With local support from Rotor+ & Eves.

http://www.myspace.com/kikiilimikilii
http://soundcloud.com/kikiilimikilii

http://collectif-tralala.com/blog/?page_id=206

http://www.amplifier.co.nz/artist/451/rotor-plus.html

Door $5, 9pm start

@ none
24 Stafford Street
Dunedin

Revisiting childhood experiences of fictionalised warfare, The Fuck Chairs' installation is a military fortress fabricated from recycled domestic artifacts and handmade weapons - its violence and play synthesized and portrayed as the primitive renderings of a generation of unconscientious objectors.

Michael Morley is an artist based in Port Chalmers, Dunedin. He has exhibited at the Dunedin Public Art Gallery, 64zero3, Christchurch City Art Gallery, Gertrude, Enjoy, Artspace and The Physics Room. He is also member of The Dead C, and lectures in Fine Arts at Otago Polytechnic School of Art. Morgan Oliver is an interactive artist and designer who lectures in Communication Design at Otago Polytechnic School of Design.

El Santo Porteno, Lyttelton
Thursday 29 July, 8pm, entry by gold coin donation

THRILL to etheric irruptions mangled through a bewildering array of electrophonic devices. GASP as aural fragments are passed to and fro with death-defying dexterity. SWOON beneath a crest of sound that builds and builds to the stratosphere. Get DOWN to El Santo Porteno, Thursday 29 July, for an evening of electronic improvisation featuring David Khan, Antony Milton and Peter Wright.

undrawing is 3 musicians and 1 visual-artist. An electronic, freeform audiovisual experience where imagery and sound are improvized live in a synchronistic way.

8pm

Master guitarist and bastion of the radical Japanese underground, Tetuzi Akiyama has recorded and performed with an extensive legion of composers and artists both in Japan and abroad. He is the founder – alongside no-input mixer virtuoso, Toshimaru Nakamura – of the infamous Meeting at Offsite performance series in Tokyo, which has played host to some of experimental music’s most recognized icons.

Akiyama’s idiosyncratic and arresting vocabulary contains often volatile shifts between microtonal prepared guitar, folk pastoralism, country raga and weirdo boogie shred. His eclectic but consistently focused body of work – which also employs viola and electronics – has appeared on labels such as Locust Music (Espers, Henry Flynt, Matmos, Josephine Foster), Staubgold (To Rococo Rot, Vladislav Delay, Keith Rowe, Oren Ambarchi, Faust), Bottrop-Boy (DAT Politics, Nobukazu Takemura, Sunroof!), and Antiopic (Lee Ranaldo, Jim O'Rourke).

As Improvised Music from Japan writes, Akiyama ‘specializes in creating music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Sometimes delicately and sometimes boldly, he controls sound volumes ranging from micro to macro, in an attempt to convert the body into an electronic entity’.

Greg Malcolm is an experimental guitarist based in Christchurch. He has recorded collaboratively and solo for Korm Plastics (Psychic TV, Stilluppsteypa, The Hafler Trio), (K-RAA-K)³ (Pan American, Es, Ignatz) and Celebrate Psi Phenomenon (James Blackshaw, Rameses III, Kemialliset Ystävät).

Nominally inspired by a side-scrolling hack and slash arcade game, Golden Axe’s cult pop and hyper-transgressive Pump and Circumstance rematerializes in Christchurch for the first time since 2007. Loaded with beguiling pop gems and un-guiding, upbeat cosmic adventures, the duo have recently emancipated a glut of irreverent cover versions, including Katy Perry’s ‘Hot and Cold’ and Michael Jackson’s ‘Wanna Be Startin' Somethin'. This is the album release show for their third album, ‘Fantasy Footwork’.

Dorkwind’s minimal arsenal consists of a waveform pedal, drums and bass, but the paint-stripped palette evokes an aggrandized Mainliner splat detonated through a flying tumulus of Lightning Bolt funk and undead Sabbath camp that’s totally over the top. Its members are Wellington and Butt Simpson's Ryan Bennett and Golden Axe’s Daif King.

Manifested as hi-romantic webcam pop, MUD disco and Chat Roulette sing-along, Fraser Austin’s auguring of the Astrological Age of Aquarius through his budding Secrets moniker is at once pastiche-soaked, heavenly and prophylactic.

Tetuzi Akiyama (acoustic guitar set)
with John Bell (mallet percussion/whistles, etc.) &
Nigel Wright (electronics)

Master guitarist and bastion of the radical Japanese underground Tetuzi Akiyama will tour New Zealand in July (2nd-13th) performing solo and collaborating with New Zealand's finest improvising musicians and sonic artists.

Tetuzi has recorded and performed with an extensive legion of composers and artists both in Japan and abroad. He is the founder alongside no-input mixer virtuoso, Toshimaru Nakamura of the infamous Meeting at Offsite performance series in Tokyo, which has played host to some of experimental music's most recognized icons.

Akiyamas' idiosyncratic and arresting vocabulary contains often volatile shifts between microtonal prepared guitar, folk pastoralism, country raga and weirdo boogie shred. His eclectic but consistently focused body of work which also employs viola and electronics has appeared on labels such as Locust Music (Espers, Henry Flynt, Matmos, Josephine Foster), Staubgold (To Rococo Rot, Vladislav Delay, Keith Rowe, Oren Ambarchi, Faust), Bottrop-Boy (DAT Politics, Nobukazu Takemura, Sunroof!), and Antiopic (Lee Ranaldo, Jim O'Rourke).

As Improvised Music from Japan writes :
Akiyamas' specializes in music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Sometimes delicately and sometimes boldly, he controls sound volumes ranging from micro to macro, in an attempt to convert the body into an electronic entity.

National tour dates -

Auckland
Wine cellar back room
Friday July 2nd
8:00pm
Tetuzi Akiyama (boogie-woogie set)
Dean Roberts and Chris O’Connor
Clinton Watkins and Richard Francis
$10

High seas Gallery
Saturday July 3rd
7:00pm
Tetuzi Akiyama (acoustic guitar)
John Bell
Nigel Wright
$10
http://www.vitamin-s.co.nz/about.php

Wellington
Frederick Street Sound and Light Exploration Society
46 Frederick St
Sunday 4 July 2010
7.30pm
$10/$5

Adam Art Gallery
Tuesday 6 July 2010
7.30pm
Free Entry
Victoria University of Wellington
Gate 3, Kelburn Parade
www.adamartgallery.org.nz

Christchurch
HSP 84 Lichfield Street Christchurch
Saturday 10 July
8pm
Tetuzi Akiyama
Greg Malcolm
$10

Tetuzi Akiyama - Boogie Woogie Set
with Dean Roberts & Chris O'Connor (guitar & percussion improv)
Clinton Watkins & Richard Francis ("motion-oriented, feedback-laden power drone ; epic" Mimaroglu Music Sales)

Master guitarist and bastion of the radical Japanese underground Tetuzi Akiyama will tour New Zealand in July (2nd-13th) performing solo and collaborating with New Zealand's finest improvising musicians and sonic artists.

Tetuzi has recorded and performed with an extensive legion of composers and artists both in Japan and abroad. He is the founder alongside no-input mixer virtuoso, Toshimaru Nakamura of the infamous Meeting at Offsite performance series in Tokyo, which has played host to some of experimental music's most recognized icons.

Akiyamas' idiosyncratic and arresting vocabulary contains often volatile shifts between microtonal prepared guitar, folk pastoralism, country raga and weirdo boogie shred. His eclectic but consistently focused body of work which also employs viola and electronics has appeared on labels such as Locust Music (Espers, Henry Flynt, Matmos, Josephine Foster), Staubgold (To Rococo Rot, Vladislav Delay, Keith Rowe, Oren Ambarchi, Faust), Bottrop-Boy (DAT Politics, Nobukazu Takemura, Sunroof!), and Antiopic (Lee Ranaldo, Jim O'Rourke).

As Improvised Music from Japan writes :
Akiyamas' specializes in music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Sometimes delicately and sometimes boldly, he controls sound volumes ranging from micro to macro, in an attempt to convert the body into an electronic entity.

National tour dates -

Auckland
Wine cellar back room
Friday July 2nd
8:00pm
Tetuzi Akiyama (boogie-woogie set)
Dean Roberts and Chris O’Connor
Clinton Watkins and Richard Francis
$10

High seas Gallery
Saturday July 3rd
8:00pm
Tetuzi Akiyama (acoustic guitar)
John Bell
Nigel Wright
$10
http://www.vitamin-s.co.nz/about.php

Wellington
Frederick Street Sound and Light Exploration Society
46 Frederick St
Sunday 4 July 2010
7.30pm
$10/$5

Adam Art Gallery
Tuesday 6 July 2010
7.30pm
Free Entry
Victoria University of Wellington
Gate 3, Kelburn Parade
www.adamartgallery.org.nz

Christchurch
HSP 84 Lichfield Street Christchurch
Saturday 10 July
8pm
Tetuzi Akiyama
Greg Malcolm
$10

An ongoing paean to exhalation, warmth and sustain, IDM is a duo from Dunedin, comprising Oliver of the Sky and The Aesthetics’ and Rory Storm’s Edie Eves. Oliver spreads a subtle array of frequencies, textures and vocal chords, opening out the palette with amorphous, nonplace field recordings, while Eves layers, strains, heats, gently cools and remixes solutions of pure oscillations, synth tones and decanted vocals.

Beats are sporadically released into the pool of sound as gentle punctuations, expanding with quiet determination, only to recede in stutters and spills, drown in reverb, or get lost over a horizon of dusty syncopation. Their debut Christchurch performance pledges a glowing cathedral of sound that envelops the listener, inviting a lullaby-like entry into deep repose.

WITCHUALS’ music ebbs between narcotic psych dub and feral, scattered drone pop, superimposing Junior Murvin vocal syrup over eternal bedroom grooves reminiscent of Wreck Small Speakers’ ‘Together We Sense’, Augusts Pablo’s ‘House of Dub Version’ and the Hendrix-haunted licks all through Carl Harvey’s ‘Ecstasy Of Mankind’. Its members include Adam Willetts, Sam Hamilton, LA Lakers and IRD.

ALWAYS (AUS) & LA Lakers (Chc)
9pm Saturday 12 June
HSP 84 Lichfield Street Christchurch
Donation Entry

The glossolalia funk, a capella techno, heterodyning rap and Upper Paleolithic shamanism of Melbourne artist, Alex Vivian’s ALWAYS has been described by Mess + Noise as a ‘linguistic circus, a vowel vandal and a syntax destroyer all in one…looping vocal tones into a continuous elastic rhythm and sewing them together in a cosmic playground’.

Vivian’s vocal ceremonies draw just as much inspiration from the fantastic realms of Dungeons and Dragons and Warhammer role-play as they do from radical improvisers like Carles Santos, Jaap Blonk, Dylan Nyoukis and Makigami Koichi, weirdo Rough Traders, Furious Pig, and the hypnotic minimalism of Meredith Monk.

Situated ethnosonically somewhere between Inuit katajjaq, the trance ritual of Balinese Kecak, and the sylvan counterpoint of Pygmy chorus, Always’ polyglot snort has been tipped by Matmos/Pitchfork’s Drew Daniel as ‘simple, powerful, and very odd’, while Aquarius Records has called it ‘totally insane’.

As an integral player in both Australia’s visual arts and musical underground, Vivian has recorded for labels Nervous Jerk (Animal Collective, Fabulous Diamonds, Dead C) and Chapter Music (Maher Shalal Hash Baz, Tenniscoats, The Twerps), and has exhibited widely both collaboratively and solo at galleries such as Y3K, Joint Hassles, Black and Blue, TCB art inc. and Auckland’s Gambia Castle.

Vivian is supported by local singer-songwriter, LA Lakers. The performance is in honour of Merata Mita.

http://www.myspace.com/pryyde
http://www.youtube.com/watch?v=gC7JduwHirw&feature=related
http://www.youtube.com/watch?v=yWOZVzMHyho
http://www.youtube.com/watch?v=ZvRH9FlLtMg&feature=related
http://y3kexhibitions.blogspot.com/2009/11/upcoming-exhibition.html
http://www.blackandbluegallery.com.au/index.php?/root/alex-vivian/
http://www.melbourneartfair.com/fair/program/project-rooms/project-room-...

Variously described as the undisputed master drummer of the Japanese Underground, a rhythm section gone ballistic and trekker of the outer limits of weirdness, Yoshida Tatsuya is the protagonist of the erstwhile, hyperactive, prog-punk, hardcore, art rock, heavy metal, disco, psych and funk, drums and bass duo, RUINS.

As John Zorn’s Tzadik has stated, the band ‘are masters of quick-change, stop/start tempos, time-signatures and textures, their explosive and intricately composed tunes sung in a peculiar language of their own invention’, making ‘bass and drums sound like an orchestra of synchronized jet engines’. Eugene Chadbourne has described their unique, rudimentary instrumentation as ‘no less than a palace revolt against the established role of the rhythm section’.

As a central force of the effervescent Japanese underground, Yoshida has recorded and performed prolifically with a host of equally significant and influential acts, including guitar legend, Derek Bailey, Makoto Kawabata and Acid Mothers Temple, K.K. Null, Elton John collaborator, Elton Dean, Ground Zero’s Mitsuru Nasuno, Fushitsusha’s Keiji Haino, Bondage Fruit’s Kubota Aki, Boredoms’ Seiichi Yamamoto and ‘Senzuri’ champion, Juntaro Yamanouchi’s seminally transgressive Gerogerigegege. He also performs and records with Zubi Zuva, a ‘freewheeling a cappella vocal trio, running the gamut from Gregorian Chant and Buddhist Shomyo to Doo-wop, hardcore and barbershop Looney tunes’, typically under Yoshida’s own maniac and inventive direction.

Since reforming Ruins Alone as a solo project, replete with manically express bass-lines triggered by a sampler (a suitable partner), and his own adrenaline-fuelled voice, Yoshida's project has become a flickering apparition of piled-up beats and stratified riffs that unfold at a staggeringly blistering speed. For his live audience, it’s a breathtaking prospect.

Radical éminence grise of the New Zealand experimental underground, Stella Corkey and Alan Holt’s WHITE SAUCER takes disorderly cues from what has been described as the triple threat freedoms of free jazz, 20th century avant-garde and psychedelic, improvised rock music. Their work has appeared on Freedom-From (Hair Police, Sightings, Harry Pussy, Jackie O, Thurston Moore), Drunken Fish (Bardo Pond, Roy Montgomery, Lee Ranaldo) and their own Pink Air, while Corkery has operated both solo as Sweetcakes and Arrows, and in collaborative shapes in Siltbreeze and Xpressway groups such as Queen Meanie Puss with Rachel Shearer and Hot Buttered Soul with Roddy Pain (Snapper, Evil). The multi instrumental duo slip between grubby and warbled extraterrestrial psych sorties to buzzed out Kosmische retreats

In an evocation of the ghost of a forbidden ideology which puts free music, shamanism and cohesive forces of resonance all on the same level - SIGN OF THE HAG is Wgtons Fredrick Street Sound and Light Exploration Society founder Daniel Beban.

Established in 2001 and now organized by committees in every major city in New Zealand under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and experimental music from around the world to New Zealand. This year, the programme continues with each city curating its own event and touring this around NZ.

http://www.youtube.com/watch?v=aLT2bb903zg&feature=related
http://www.undertheradar.co.nz/utr/show/SID/13067/N/Altmusic-Presents:-Ruins-Alone-(JP).utr
http://altmusicnz2010.blogspot.com/

Variously described as the undisputed master drummer of the Japanese Underground, a rhythm section gone ballistic, trekker of the outer limits of weirdness and doctor of psychic polyrhythms, YOSHIDA TATSUYA is the protagonist of the erstwhile, hyperactive, prog-punk, hardcore, art rock, heavy metal, disco, psych and funk, drums and bass duo, RUINS.

As John Zorn’s Tzadik has stated, the band ‘are masters of quick-change, stop/start tempos, time-signatures and textures, their explosive and intricately composed tunes sung in a peculiar language of their own invention’, making ‘bass and drums sound like an orchestra of synchronized jet engines’. Eugene Chadbourne has described their unique, rudimentary instrumentation as ‘no less than a palace revolt against the established role of the rhythm section’.

As a central force of the effervescent Japanese underground, Yoshida has recorded and performed prolifically with a host of equally significant and influential acts, including guitar legend, Derek Bailey, Makoto Kawabata and Acid Mothers Temple, K.K. Null, Elton John collaborator, Elton Dean, Ground Zero’s Mitsuru Nasuno, Fushitsusha’s Keiji Haino, Bondage Fruit’s Kubota Aki, Boredoms’ Seiichi Yamamoto and ‘Senzuri’ champion, Juntaro Yamanouchi’s seminally transgressive Gerogerigegege. He also performs and records with Zubi Zuva, a ‘freewheeling a cappella vocal trio, running the gamut from Gregorian Chant and Buddhist Shomyo to Doo-wop, hardcore and barbershop Looney tunes’, typically under Yoshida’s own maniac and inventive direction.

Since reforming RUINS ALONE as a solo project, replete with manically express bass-lines triggered by a sampler (a suitable partner), and his own adrenaline-fuelled voice, Yoshida's project has become a flickering apparition of piled-up beats and stratified riffs that unfold at a staggeringly blistering speed. For his live audience, it’s a breathtaking prospect.

PETER WRIGHT’s evocative sound ecologies contain crackling, blurring, radiant bursts of static and string vibration, grinding surfaces of decay, and guitars layered and overloaded into blissed out plateaux. His work has appeared on labels Last Visible Dog (Thuja, LSD March, Fursaxa), Blackest Rainbow (Best Coast, MV& EE, Robedoor) and Digitalis (Tarantel, James Blackshaw, Tom Carter), and has been described by UK’s Norman Records as ‘Stars Of The Lid turned to the dark side of the force’.

GRUNGE GENOCIDE DRUM PENTAGRAM is equal parts post-Boadrum incantation, phantom Gamelan unit, and mock-satanic Theatre of Eternal Music, its members consisting of Adam Willetts, Mike Minchington, Rory Dalley, Stuart McKay and on this occasion, visiting RUINS marvel, Yoshida Tatsuya.

Established in 2001 and now organized by committees in every major city in New Zealand under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and experimental music from around the world to New Zealand. This year, the programme continues with each city curating its own event and touring this around NZ.

SF’s Sean O’Reilly is the black eminence behind the erstwhile escape punk and Kraut grot of Flying Nun’s most insolent skronk pack, King Loser – their Ritalin Morricone and stray Gainsbourg caterwaul permeated with his agitated tremolo, strung-out stabs and general, curled and blippy menace. SF’s 1996 Flying Nun EP, ‘Supra’ is a dark, minimalist blaze, adorned by the strange ingénue and weirdo, feline giggle of artist, Saskia Leek. O’Reilly has also appeared alongside Rachel Shearer (Lovely Midget, Queen Meanie Puss) and Dean Roberts (Thela, Autistic Daughters) in Xe; with Chris Hazelwood and Look Blue Go Purple’s Lesley Paris in Olla; and is a current member of Siltbreeze/Xpressway/Flying Nun legends, The Renderers. He is joined by Christchurch concréte pop artist, LA Lakers.

Richard Neave is a Christchurch guitarist, who, after an extended period in Thailand, returns briefly to play his first show here since stoned immemorial. Neave’s work has appeared on labels such as Root Don Lonie for Cash (Fabio Orsi, Armpit, Celia Mancini, Futurians, CJA, Kraus) and Celebrate Psi Phenomenon (Richard Youngs, Kemialliset Ystävät, Slow Listener, Ignatz), and he has exhibited at HSP and the Christchurch Art Gallery's Subsonic programme.

http://www.youtube.com/watch?v=8gv9usGhOK4&feature=player_embedded

Bill Orcutt emerged as one of the most influential guitar players of the 1990s, alongside drummer Adris Hoyos in the seminal Miami-based free rock band, Harry Pussy, their half-decade existence throwing up a boutique of caustic masterpieces alongside equally luminary cohorts on labels including Chocolate Monk (Richard Youngs, Incapacitants, Bruce Russell) and Siltbreeze (Charalambides, Guided By Voices, The Shadow Ring), but their volatile, calamitous sound has remained their matchless own.

Harry Pussy’s sonic wit, spat forth in vignette-like rashes such as ‘Please Don’t Come Back From The Moon’, ‘Nazi USA’ and ‘I Don't Care About Sleep Anymore’ spoke of a generational disenchantment that heavily influenced the likes of later acolytes, Hair Police, Pukers, Sightings, The Hospitals and the younger alumni on Philadelphia’s fabled Siltbreeze label. In one critic’s words, Harry Pussy ‘filtered the Circle Jerks' brutal attack through Sonic Youth and Lydia Lunch and condensed it into a narrow, high-pitched assault’, and in another’s, ‘pretty much established a whole new blueprint for post-hardcore avant rock destruction.’

Orcutt’s unanticipated return with the 2009 self-released 7", ‘High Waisted’ and his late-2009 LP, ‘A New Way To Pay Old Debts’, was an exhilarating reincarnation of the rambunctious automatism and hair-trigger ferocity that pervaded Harry Pussy’s earlier, combustible missives. In Mimaroglu’s words, the latter recording ‘let loose a pan-trajectorial spray of freedom-inflected guitar histrionics, captured gloriously in a room-tone / blown-amp fidelity’. Its un-building of a noise-blues vernacular invoked the equally insubordinate spirits of the late Derek Bailey and John Fahey, and the delta bros, Fred McDowell and Joseph Spence, and was a universal, underground heir of album of the year, appearing on The Wire magazine’s Rewind list next to Oneohtrix Point Never and Broadcast.

Orcutt's plucked lacerations, spooky boogie, and ballistic extraterrestrial blues, bordered by the severe candour of his own ulterior, vocal utterances makes for an unsettling but downright melodious sound that repudiates mere descent into noise-guitar discord, while serving as a reminder to a whole contemporary pantheon of guitarists of how it should be done.

Brian and Maryrose Crook's band The Renderers enjoys a cult following in the US with the kind of country music that a character from either a William Faulkner short story or a David Lynch film might whistle while scalding a hog. Their songs are alternately knuckle-white and grangrene-black. Mary Rose, who also has a solo album in production, is a painter (although her easel is not of tarnished gilt). Represented by Brooke Gifford Gallery, she was curated by Emma Bugden in City Gallery’s Telecom Prospect 2004: New Art New Zealand (Wellington). Her canvasses are a visual corollary to the Southern Gothic of The Renderers’ songs.

http://palilalia.com/
http://www.myspace.com/therenderers

Established in 2001 and now organized by committees in every major city in New Zealand under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and experimental music from around the world to New Zealand. This year, the programme continues with each city curating its own event and touring this around NZ.

BLACK BONED ANGEL
will crush eardrums and innards alike when they bring their narcoleptic brand of sleepmetal to Wellington for a very rare live journey into E-P-I-C blackness. Triumphant beauty. Unspoken power. Hunchbacked devotion. No band is more singularly committed to the possibility of religious epiphany via THE RIFF.

FULL FUCKING MOON
Space-monkey, Space-Fox, Space-Snake, Space-Meercat!
Shape-shifting denizens of the earthly crust, FFM pull into their psychedelic sphere: eurovision ecstacy, heavy repetitive riffing, volcanoes erupting, distant radio transmission, cosmic droning and supernatural disco. Feel the magnetic force!

BILL ORCUTT emerged as one of the most influential guitar players of the 1990s, alongside drummer Adris Hoyos in the seminal Miami-based free rock band, Harry Pussy, their half-decade existence throwing up a boutique of caustic masterpieces alongside equally luminary cohorts on labels including Chocolate Monk (Richard Youngs, Incapacitants, Bruce Russell) and Siltbreeze (Charalambides, Guided By Voices, The Shadow Ring), but their volatile, calamitous sound has remained their matchless own.

Orcutt’s unanticipated return with the 2009 self-released 7", ‘High Waisted’ and his late-2009 LP, ‘A New Way To Pay Old Debts’, was an exhilarating reincarnation of the rambunctious automatism and hair-trigger ferocity that pervaded Harry Pussy’s earlier, combustible missives. In Mimaroglu’s words, the latter recording ‘let loose a pan-trajectorial spray of freedom-inflected guitar histrionics, captured gloriously in a room-tone / blown-amp fidelity’. Its un-building of a noise-blues vernacular invoked the equally insubordinate spirits of the late Derek Bailey and John Fahey, and the delta bros, Fred McDowell and Joseph Spence, and was a universal, underground heir of album of the year, appearing on The Wire magazine’s Rewind list next to Oneohtrix Point Never and Broadcast.

Orcutt's plucked lacerations, spooky boogie, and ballistic extraterrestrial blues, bordered by the severe candour of his own ulterior, vocal utterances makes for an unsettling but downright melodious sound that repudiates mere descent into noise-guitar discord, while serving as a reminder to a whole contemporary pantheon of guitarists of how it should be done.

Radical éminence grise of the New Zealand experimental underground, Stella Corkey and Alan Holt’s WHITE SAUCER takes disorderly cues from what has been described as the triple threat freedoms of free jazz, 20th century avant-garde and psychedelic, improvised rock music. Their work has appeared on Freedom-From (Hair Police, Sightings, Harry Pussy, Jackie O, Thurston Moore), Drunken Fish (Bardo Pond, Roy Montgomery, Lee Ranaldo) and their own Pink Air, while Corkery has operated both solo as Sweetcakes and Arrows, and in collaborative shapes in Siltbreeze and Xpressway groups such as Queen Meanie Puss with Rachel Shearer and Hot Buttered Soul with Roddy Pain (Snapper, Evil). The multi instrumental duo slip between grubby and warbled extraterrestrial psych sorties to buzzed out Kosmische retreats. This is their first ever show in Christchurch.

BRUCE RUSSELL is an artist, composer and writer based in Christchurch, and is the founder of seminal labels, Xpressway and Corpus Hermeticum. His work has appeared on a panoply of labels, including Smalltown Supersound, Ecstatic Yod, Spirit of Orr, Siltbreeze and Helicopter. His bands, The Dead C and A Handful of Dust have appeared on an equally formidable array of imprints. Russell has recorded with the likes of AMM’s Eddie Prevost, Mattin, John Wiese, RLW, Tetuzi Akiyama and Birchville Cat Motel, and has performed alongside a similar host of like minded, but diverse artists.

Established in 2001 and now organized by committees in every major city in New Zealand under the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and experimental music from around the world to New Zealand. This year, the programme continues with each city curating its own event and touring this around NZ.

Jeff Henderson is one of New Zealand’s most preeminent musicians, appearing in an array of assorted musical incarnations and running an agile and provocative gamut from blown-out saxophone skronk to Vodou stomp and Rasin psych, from Neanderthal opera to Ongaku reductionism. He has appeared alongside a host of like-minded and stellar figures, including Steve Lacy, Marilyn Crispell, Evan Parker, Han Bennink, William Parker and The Necks’ Tony Buck. His investigative yet visceral approach to performance is lucid and enthralling.

Leila Adu’s voice has been compared to hot treacle on broken glass, and her latest producer, Steve Albini (Nirvana, Joanna Newsom, PJ Harvey) has called her spooky. She has performed alongside the New Zealand Symphony Orchestra, experimental heroes, Jim Denley, Lol Coxhill and Steve Beresford, NZ ethnomusicologist icon, Jack Body, and the influential American proto-rap artist, Gil Scott-Heron. Described as a 21st century Nina Simone but coming across more as an empyrean Dagmar Krause, Adu’s versatile instrument is both terrifying and mellifluous.

Six Volts, The Front Lawn, Primitive Art Group, Labcoats, Flower Orphans, Melancholy Babes, Razorblades, Rubbernecks, Braille Band, Family Mallet, Mantarays, Village of the Idiots, Bung Notes and Razor Blades alumnus, Anthony Donaldson has been described by The Listener as a haunter of the Wellington jazz and improvised music world for the better part of three decades, and as festival curator, mentor and a perennially chameleon drummer has informed and appeared alongside a host of experimental and pop luminaries both in NZ and abroad.

A graduate of Sydney’s Conservatorium of Music, Reuben Derrick has appeared in the 20+ member ensemble, Splinter Orchestra, alongside leading Australian experimentalists, Jon Rose, Martin Ng, Jim Denley, Nylstoch, xNoBBQx’s Matt Earle and Robbie Avenaim, at NSW’s The Now Now Festival, with Lucas Abela, Sean Baxter and The UNAUSTRALIANS, while also playing with Greg Malcolm in the trio, The Crust.

Rory Dalley’s inflamed percussion and personal hi-fi incineration has recently materialized in both solo and collaborative operations alongside Philip Jeck, Pink Reason, xNoBBQx, and Shoji Hano. His eldritch drumming and gravel dub electronics are a quasi-martial force to witness, his dime-dropping beats both virtuosic and primeval.

OPENING RECEPTION AND PERFORMANCE: 7:30pm Friday 16 April

SILVER PARK is a crepuscular ceremony staged in the confines of the candle-lit gallery, its illuminated surfaces setting a transcendent scene for the distorted leisure of two performances played out across its lambent tableau.

The ritual vision is both comforting and confrontational, reflecting upon the twin nature of the show’s eponymous realm as a both a locus of consolidated leisure and familial airing, and a site of dark, mythical peril. Orjis’ idyll is camp, reflective, paradisiacal, infernal, tranquil, un/finished, cinematic and survivalist.

Richard Orjis is an artist based in Auckland. Death Throes is a d-beat band based in Christchurch. LA Lakers is a vocal/tape artist also based in Christchurch.

Opening Reception: 6pm Friday 26 March

Richard Law
Stephanie Davidson
Jeffrey Joyal and Carlos Laszlo
Daniel Lopatin / Oneohtrix Point Never
Josh Burke / Triangle Glare / Nehal Shah
Samantha Gurry
Sean McCann
Ivan Gaytan
Craig Hand
Luke Wyatt
Zahid Jiwa
Nate Boyce
Tyler Dorson
Frank Baugh
Todd Ledford

Curated by Shea Bermingham and John Laser

0900 SOLAR BOARDING PAUSE ALONZO MORNING is a visual inquiry into what musician and columnist, David Keenan has described as Hypnagogic Pop, an underground musical zeitgeist mobilised by the 'creative mishearing of hyperreal 1980s chartbusters', and the erudite detourning of that epoch's still-lambent historo-retinal afterimage into a contemporary, artistic corpus of kinaesthetic, post-noise forms.

0900 is a collection of videos from contemporary artists working with, and as, preeminent US musical acts including James Ferraro, Ducktails, Oneohtrix Point Never, New Yoga, Mossy Throats, Sun Araw, Triangle Glare and Matrix Metals. Their works all subvert commercial totems through the use of upturned and detuned samples from televisual refuse, foggy digital filters, oneiric repetition, ghostly deceleration, and pausal, collagistic juxtaposition, in an uncanny optic manifestation of the revenant timbral symbols contained in their respective, portal-like soundtracks.

Comprised of a mixture of video art pieces, music videos, commercials, late nite phone-mercials and other cathode-ray detritus, 0900 is a playful exploration of the aesthetics and politics of a collective VHS memory, through an appropriately eclectic collection of vis-aur-al material.

Full Fucking Moon | I am a Strange Loop

Performance: 1pm, Sat 20, Otago Pioneer Womans Memorial Association, 362 Moray Place and simultaneously broadcast live on Radio One 91FM and Toroa Radio 1575AM

I Am A Strange Loop explores the medium of radio within the context of a live performance presented in multiple locations, creating a ‘kaleidoscope’ of sound and music that experiments with individual and collective experience, while investigating aspects of radio as art.

With the participation of Dunedin’s local radio stations Toroa Radio and Radio One this performance arranges two simultaneous radio broadcasts alongside the staging of a live music performance by Full Fucking Moon at the Otago Pioneer Women’s Memorial Association building. Here, several radios will be installed to create a dynamic sonic and spatial mix together with other in-situ performative elements. The public are invited to either attend this event on location, or listen in at home (or somewhere else?) by tuning in to the participating radio stations to create their own radiophonic pastiche.

I Am A Strange Loop is an expanded performance-system to be seen and heard as consisting of multiple parts that are mutually independent but interconnected. Through the act of listening people become part of the event while partaking in the dynamics of the event structure. All together this produces a radical fusion of chance elements that contribute toward an idea of a kaleidoscopic performance, using radio as a cosmic channeling device while playing with notions of time, place, public and private space.

Full Fucking Moon is a collaborative project between New Zealand artists Bek Coogan and Torben Tilly, also involving Andy Wright and Steve Heather. Moving across the platforms of rock and improvised music, art performance and installation, Full Fucking Moon functions as an experimental site for a hybrid art/music crossover.

11pm Start

The central feature of Silencio Ensemble's Mekhane is a revolving mechanical apparatus with a six meter boom from which a microphone is suspended. The live 12 piece ensemble sits in a circular fashion facing outwards in fleeting contact with various amplifications. The music making revolves around various interactions with the device and the structures found within it.

9pm start

A multi-room, interactive sound and light installation, including...

A finely tuned nothing, with a series of sound beams self canceling unless someone enters the installation, when their body interfere with the wave fronts and create new soundscape as a physical reaction.

a multi-stage video delay room where the only exhibition will be people's perception of the exhibition and their reaction to their reaction to their reaction...

An optical synthesiser built out of fans and lights.

water cymatics.

open 8-10pm every night from 25th feb to 5th march. Just pop in and have a look, pay what you want, if you want.

http://www.headchip.net

To celebrate the New Zealand release of their S/T album

26/02 Whammy Bar, Auckland w/ Surf City, Popstrangers & Deerpark
27/02 Mighty Mighty, Wellington w/ Surf City & Zorba the Mastiff (Marineville)

FLYER COMING SOON

THE GREAT WALL OF NOISE ISLAND

Alleluia Cafe, St Kevins Arcade
Karangahape Rd, Auckland
Thursday 28 January 2010
20:00 - 22:30 $8

NOMEX [UK]
RICHARD FRANCIS & CLINTON WATKINS
BEARD & TUMOUR
DUNCAN BRUCE

Advice: Bring a wheelchair to this event.

UK bruitist noise artist Nomex in his first ever Auckland appearance. Also the first in a series of noise shows and breakcore parties around the K Rd Precinct in AK. Nomex will be performing solo at the famous Alleluia Cafe in St Kevins arcade focusing on his more abstract, fractured and brutal sonic spectra.

Richard Francis & Clinton Watkins are 2 of New Zealand's premiere noise musicians. Richard uses field recordings of natural and electronic sounds and a tone generator to compose textural and tonal sound works. On this occasion however, he will be paired with guitarist Clinton Watkins. Norman Records reviews their latest 7" split release on Dugeon Taxis Records as "Richard Francis & Clinton Watkins side is a powerful display of fucked up noise mongering and molten hot white rock!"

Beard & Tumour is a new duet comprising of bearded noise guru, Leonard McMullen and ..Power Rangers sound designer, Jonathan Bruce. Basically it's an all new Anti-Kati performance without anyone mentioning Anti-Kati at all.

The Night Will also feature Duncan Bruce. Mr Bruce recently performed solo vacum cleaner with the Auckland Philharmonic Orchestra at the Auckland Aotea Centre recital of "A Grand, Grand Overture", written by Oscar-winning British composer Malcolm Arnold. He may or may not bring his vacum cleaner with him.

www.noiseisland.com
www.breakcoreisland.com
http://aklass.com
http://godrekidz.co.nz

FLYER COMING SOON

RETURN TO THE CONQUEST OF BREAKCORE ISLAND II

The Brothel,
268 Karangahape Rd, Auckland
Fridayday 12 February 2010
22:00 - 03:30 $5

REALICIDE [USA]
NOMEX [UK]
EARTH DEMISE
N.U.T.E
THE INCREDIBLE HEXADECIBELS W/ CREASSAULT

Advice: Same Party / Different City

Realicide the socio-political DIY gabber punk collective from the US, on its first tour of Australia and New Zealand, represented by founding member Robert Inhuman.

UK bruitist noise artist Nomex in his even more difficult fifth Auckland appearance this time in Wellington

with local support;

N.U.T.E - Metal / Industrial / Breakcore and Noise. The perfect accompanient to current entrophy of genres. Front man Drew Lyon (aka Creassault) will demonstrate his unque multi-disciplined vocal talent while Roxy Riot will stun & devastate you with stage prowess and moniker.

The Incredible Hexadcecibels w/ Creassault are back from Europe and their tunes are Polished. [That's a pun refering to their tune kick ass Warsaw Village Band cover of "Zurawie". ha har !]

Adding to this stellar cast of old school and true NZ breakcore / hardcore / hip hop / noise is Earth Demise. The role is played by Splash/Manaia Toa/End Of Man, You may remember Splash from such productions as the 1999 full fuckin heavy bad ass brooding and crunchy Hakaider vs End of Man. If you haven't heard and loved this classic NZ album, yo'all don't know real hardcore.

www.breakcoreisland.com
http://aklass.com
http://godrekidz.co.nz
www.noiseisland.com

FLYER COMING SOON

RETURN TO THE CONQUEST OF BREAKCORE ISLAND

The Brothel,
268 Karangahape Rd, Auckland
Fridayday 12 February 2010
22:00 - 03:30 $5

REALICIDE [USA]
USA KINGS [HU]
NOMEX [UK]
N.U.T.E
INVASION OF THE MUTANT SPACE BATS OF DOOM
THE INCREDIBLE HEXADECIBELS W/ CREASSAULT
K5K

Advice: B.Y.O Police Repellent.

Realicide the socio-political DIY gabber punk collective from the US, on its first tour of Australia and New Zealand, represented by founding member Robert Inhuman in an house party setting on the roof of an infamous gay bar ! Political as You Want !

The USA Kings legendary first appearance in the Southern Hemisphere, right here on Breakcore Island. GTFO !
Their style is "dancecore" and their presence is mighty. Raised on the Hungarian Cocktail these Kings have an immense personal tolerance and penchant for shaky lines and rave tunes. And they played Glastonbury this year!

UK bruitist noise artist Nomex in his difficult fouth Auckland appearance.For those who missed him 2 weeks earlier, Game over man. This is a completely new original live party Breakcore/Noise Set. fuckin eh'.

with local support;

N.U.T.E - Metal / Industrial / Breakcore and Noise. The perfect accompanient to current entrophy of genres. Front man Drew Lyon (aka Creassault) will demonstrate his unque multi-disciplined vocal talent while Roxy Riot will stun & devastate you with stage prowess and moniker.

Invasion of the Mutant Space Bats of Doom is one of the many psuedonyms of Sean O'Kane-Connolly. His latest Australian tour with primary grind/metal band 'In Dread Response' saw him brave the halls of the Hamo Fight Club [NCL], square off with Drillbit and none of that matters at all because I.O.T.M.S.B.O.D. is D&D "fantasy" music with Ballad style vocals. Evil!

The Incredible Hexadcecibels w/ Creassault are back from Europe and their tunes are Polished. [That's a pun refering to their tune kick ass Warsaw Village Band cover of "Zurawie". ha har !]

K5K is still, and will forever be, the Chaorin Combat 2003 World Noise Battle Champion. He literally invented the Breakcore Room in the (now defunct?) Soulseek chat room, was cited
250-something times in Coprolalia and Shibboleths (DL below). True Legend.
http://www.archive.org/download/coprola … _final.pdf

www.breakcoreisland.com
http://aklass.com
http://godrekidz.co.nz
www.noiseisland.com

FLYER COMING SOON

ESCAPE THE BOWELS OF NOISE ISLAND

The Wine Cellar, St Kevins Arcade
Karangahape Rd, Auckland
Thrusday 11 February 2010
20:00 - 10:30
$8

REALICIDE [USA]
NOMEX [UK]
?RECUERDE?
PETER VARG

Advice: Ear plugs.

Realicide the socio-political DIY gabber punk collective from the US, on its first tour of Australia and New Zealand, represented by founding member Robert Inhuman will perform a singular noise piece for this discerning event.

UK bruitist noise artist Nomex in his third Auckland appearance.
Recline in the comfort of the Wine Cellar with new improvised heavy screeching horror of Nomex.

with local support;

?Recuerde? - The talented owner of The Wine Cellar plays tribute to this impecable evening of excrutiating noise with his own home-made concoction of multiple guitars, amps and various etc !

Peter Varg - Worshipful Master and winner of this years 15 Minutes of Shame. The head honcho of Multiple Enteries And Trajectories noise label [M.E.A.T] will perform his award winning improvised sonic excreta.

www.noiseisland.com
http://aklass.com
http://godrekidz.co.nz
www.breakcoreisland.com

FLYER COMING SOON

THE CURSE OF BREAKCORE ISLAND

Area26, St Kevins Arcade
Karangahape Rd, Auckland
Friday 29 January 2010
21:00 - 01:30
$5

TOECUTTER [AUS]
NOMEX [UK]
THE INCREDIBLE HEXADECIBELS W/ CREASSAULT
K5K
PONNY FIGHT
GEE GEE

Advice: Bring Yr Own. Or make a donation, receive a free beer !

Toecutter, you know him, you love him, you cannot f**kin live with out him. Australia's most guileless party animal is returning to Breakcore Island. After exactly 11 months the anticipation from our indigenous population is palpable. We hope the foreign beast; Toecutter, will put away much of the creature and finally lift the Curse of Breakcore Island.

UK bruitist noise artist Nomex in his second ever Auckland appearance. His late 90ties genre generating tune w/ DJ Scud "Total Destruction" was the blue print for many years of solid noise based Breakcore/Jungle.
We heartily encourage Nomex to rip us, and this house party, a new one.

with local support;

The Incredible Hexadceibels w/ Creassault the multimedia necro booty rAVe ensemble. Their collaboration incorporates projected image, vocals, trendy music and full stage show, displaying complete mental retardation at each show.

Ponny Fight Runners Up at this years' 15 Minutes of Shame.
They are an inter-racial, high school attending electronic music band in an age of intolerance. And they are the most partiest kids i've ever met.
They party harder, longer and more sillier than anyone i ever met.
Which goes some way in explaining all the tin foil on stage at the end of their set.

Gee Gee goes to high school with Ponny Fight. But our attraction to him doesn't stop there. His MC styles is reminiscent of Dizzee Rascal, His music is in a class with 16bit and whathaveyou. In a nuts hell, bad ass dubstep with hip hop vocals by an overachieving teen,, at an house party !
whoot !

K5K His beard is back from rehab and not looking to change it's ways. The controlling influence of K5K's beard,, his dark passenger,, makes for a
dark and sexy homeless look. As Dangerous to a dance floor as he is Bearded.

www.breakcoreisland.com
http://aklass.com
http://godrekidz.co.nz
www.noiseisland.com

Kevin Blechdom is a musician from Tallahassee, Florida, whose solo and collaborative work – as a member of Blectum from Blechdom and Adult Rodeo and as a duo with Eugene Chadbourne – has appeared on labels such as Kid606’s Tigerbeat6 (DJ /rupture, Indian Jewelry, Quintron and Miss Pussycat), Kit Clayton’s Orthlorng Musork (AGF, Akira Rabelais, Ekkehard Ehlers), Sonig (Jason Forrest, Mouse On Mars), Shimmy Disc (Daniel Johnston, Ruins, Shockabilly), Les Disques Victo (Anthony Braxton, Kid Koala, Hijokaidan, Wolf Eyes, Cecil Taylor) and Chicks On Speed Records (Le Tigre, DAT Politics).

Blectum from Blechdom’s first LP won second prize for Digital Music at Ars Electronica in 2001), while the Wire magazine described the duo’s telepathic synergy as a ‘riotous departure from what they regarded as the tight, minimal and earnest tendencies of male-dominated electronica’, approximating the ‘most vivid and literal musical definition yet of the word ‘haywire’”. The 2005 solo album, Eat My Heart Out consisted of a topless Blechdom, clutching the drippy esophagus, heart and lungs of a goat, while the music within was seen as an enactment of this literal evisceration, a confessionalism that has continued to inform her recordings and live performances since. Widely regarded as a retreat from the musical derangements of her practice heretofore, 2009’s Gentlemania is just as harrowingly candid and more unsettling for its ostensible compositional simplicity. A bricolage of Broadway psych, show tune and hillbilly delirium and euphoric faux pas, the album was recorded with Warp label’s Jamie Lidell and stands out as a next-level treatise on interpersonal and inter-species phenomena. Blechdom is currently touring alongside Christopher Fleeger as the duo, BARNWAVE.

http://www.kevyb.com/
http://upfrontonline.net/kevin-blechdom/
http://pitchfork.com/features/interviews/6239-kevin-blechdom/#at
http://www.youtube.com/watch?v=gSXpg_jp3sc
http://www.youtube.com/watch?v=bsSb14p3jzM

Greg Malcolm’s otherworldly abduction of the guitar and re-sounding of its grey acoustic matter has been witnessed across imprints like Kning Disk (James Blackshaw, Machinefabriek), (K-RAA-K)³ (Ignatz, Silvester Anfang, Es, Pan American), Table of the Elements (Thurston Moore, Tony Conrad, Captain Beefhart, John Cale, John Fahey), Interregnum (Robedoor) and Campbell Kneale’s Celebrate Psi Phenomenon. Malcolm co-axes his surgically changed instrument into abstract drifts and moiré-like OBE projections, its implanted contact microphones and sympathetic strings embellishing the subtle dexterity and gleaming nature of his idiosyncratic playing. Malcolm’s duo with Jenny Ward is a radically wronged mutation of decadent alt-country and marginal cabaret, equally as virtuosic but extra-demented and as duplicitously innocent-disturbed as Kevin Blechdom’s recent work. Ward equips Malcolm’s pulp ostinato and cringing jackknife Trippelgitaristen reek-outs with a mélange of walkie-talkie soprano, prurient gargles and puppet-like double-entendre ululations, recalling the halcyon of their earlier days as the touring kid show outfit, Such n Such, albeit weathered by the onset of cynicism, genius and transcendental New Sincerity.

The High Seas
Ground Floor, Theta Building
1/12-14 Beresford Square
Auckland Central

Artist Information:

Jeff Burch is an American born New Zealander now based in Sydney Australia. Besides his controlled solo guitar work he runs independent Imprint/Record Label The Spring Press, has a duo project Mandala Trap with Paul Gough (Pimmon) and is also one quarter of Songs. His first solo release, recorded in 2006, is out in November through Perth label Farmer Frontier.

Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose textural and tonal sound works. He has released solo and collaborative music on a number of labels worldwide and runs his own label CMR through which he releases limited edition lathe cut records by New Zealand artists. In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand.

Cathedrals is the duo of "Nigel Wright & Tim Coster" aka"Tim Coster & Nigel Wright", chanelling the drone spirits of goth and emo, and playing the same song over andover again..

Australian Multi-Instrumentalist Adam Page (winner Best Music and Best Solo Show at the 2009 New Zealand Fringe Festival, and collaborator with STRIKE in July 2009) is returning to Wellington, but this time he is bringing some friends... The Adelaide Sax Pack!

Think about this... four world-class saxophonists, one huge quartet sound, stacks of the cheesiest music you know you love but choose to hate, that's The Adelaide Sax Pack.

For one night only at Downstage Theatre on Sunday December 20th at 7pm, The Sax Pack will present their multi sellout Christmas show comprising of two sets of Christmas songs (and probably some 80's tunes thrown in too) as you've never heard them. It's guaranteed to lift your spirits and bring in the holiday season with a bang. They love it, and reckon you will too.

The Adelaide Sax Pack at Downstage will be joined by the amazing, the beautiful, the vocally superb Lisa Tomlins (Shapeshifter, Fat Freddy's Drop, Rhombus, TrinityRoots) for one of the most beautiful Christmas songs ever written.

John Wiese is an artist, composer and arch-collaborteur from Los Angeles, California, who has recorded alongside a myriad of other musical luminaries, such as Wolf Eyes, SunnO))), Die Monitr Batss, Lasse Marhaug, Evan Parker, C. Spencer Yeh, Thurston Moore, Cattle Decapitation, Merzbow, The Locust, Smegma, Yellow Swans, Daniel Menche and Bruce Russell. He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), and the United States alongside Wolf Eyes.

Toted as parasympathetic drone aesthete and noise maven, Wiese’s meticulous sonic mode of operation is an adroit mixage of concrete ruthlessness, bubbly hypnosis and mash-up cassette psychosis. ‘Much like Japanese electronic composer Ryoji Ikeda,’ Pitchfork elaborates, ‘Wiese excels in making clean, precise cuts between drastically different sounds, building a drop-dead dynamic capable of stepping from almost-absent rumbles and hums to furious noise burst’. Wiese exhibits a conscientious, microscopic attention to detail, producing visceral sounds recorded straight to tape and digitally processed with faultless precision.

Having appeared at the 52nd Venice Biennale alongside Italian artist Nico Vascellari and installing sound exhibitions at Tokyo Tech, Tokyo and Family, Los Angeles, Wiese is in Christchurch to present his Battery Instruments Installation, an extension of his performance and recorded work into the protracted and enveloping space of the gallery.

More info: http://www.john-wiese.com/

John Wiese is an artist, composer and arch-collaborteur from Los Angeles, California, who has recorded alongside a myriad of other musical luminaries, such as Wolf Eyes, SunnO))), Die Monitr Batss, Lasse Marhaug, Evan Parker, C. Spencer Yeh, Thurston Moore, Cattle Decapitation, Merzbow, The Locust, Smegma, Yellow Swans, Daniel Menche and Bruce Russell. He has toured extensively throughout the world, covering Europe, Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), and the United States alongside Wolf Eyes.

Toted as parasympathetic drone aesthete and noise maven, Wiese’s meticulous sonic mode of operation is an adroit mixage of concrete ruthlessness, bubbly hypnosis and mash-up cassette psychosis. ‘Much like Japanese electronic composer Ryoji Ikeda,’ Pitchfork elaborates, ‘Wiese excels in making clean, precise cuts between drastically different sounds, building a drop-dead dynamic capable of stepping from almost-absent rumbles and hums to furious noise burst’. Wiese exhibits a conscientious, microscopic attention to detail, producing visceral sounds recorded straight to tape and digitally processed with faultless precision.

More info: http://www.john-wiese.com/

Uz Jsme Doma, (pronounced oosh-smeh-dough-ma), are a progressive rock band from Czech Republic, who originally formed in northwest border town Teplice in 1985. The band's name translates literally to, "we're home now" but, as an idiom, means something more like, "well, there we go" in Czech conversation.

The band has, to date, released six proper studio albums, two live albums, a best-of package and a DVD containing live footage and a documentary about the history of the band, which discusses its artistic significance and chronicals its dozens of lineup changes in its 22+ year career. In addition to traditional band functions such as recording albums and touring, UJD have taken on a wide array of ambitious projects, including work with theater, fiilm and art. They collaborated very closely to the world famous band The Residents on their Freak show and felt in friendship with them and many other great musicians all over the world (Tom Cora, Amy Denio, Jello Biafra, David Thomas etc)
Band tours frequently whole the world, from first foreign show in Germany till now they visited almost 30 different countries, major part of them took USA (more than 600 shows in almost all states)

The band's approach to arrangements is unique in the world of rock. They bring the instruments and vocals in different directions within the same scales and keys to create a dense melodic atmosphere. In addition, their rhythms often accent off-beats and half-beats, throwing the listener in unexpected directions. The music seems to be an exhausting juxtaposition between beauty and ugliness, as songs will frequently shift between modes to create tumultuous, powerful hooks (a good example of this is the song "Hollywood.") The band is also fond of shifts between time signatures and the insertion of extra beats in the shaping of the mood of the song.

Wanek's lyrics have earned him a reputation as a respected Czech poet. His lyrics have been described his writing as "an axe for the frozen sea inside us," a line taken from fellow countryman and influence Franz Kafka. All lyrics are translated to English and to Polish language, too.

Artist Martin Velisek, the non-playing UJD member, has been published in several volumes and enjoyed popularity outside of his work with UJD as well. His unique, absurd cartoon style, replete with alarming flourishes of realism, gruesomeness and beauty, gives UJD records their distinct look.

Touring with UJD is mr sterile Assembly from Wellington. A three-piece bass and drums and bass outsider punk group. Recent called "...one of New Zealand’s most adventurous punk bands" by Einstein Music Journal.

Also Playing::: In AK : The Bemsha Swing
In New Plymouth::: Schizo Phrenia
In Wellington::: The Control 6580 Radiophonic Blues Ensemble

All shows $15 DOOR SALES ONLY

A Night of Experimentalia featuring the films of Snakebeings and randomized installations by various underground artisics

A joint presentation by collective experimental group Art Rotunda, and junk factorial Pieplate Industries

THE TRONS
Robots.. yeah robots! And they play indie/garage in a sortof crossover of Zombies meets Stereolab. These four mechanical musicians play guitars, drums and keyboards like a normal human band, but they are made out of old mechanical junk and salvaged electronics. From small town NZ they've made a big impression on the net, toured Europe, and played dozens of NZ gigs and galleries. Combined with live visuals from cameras integrated into the instruments, shows are a totally unique and mesmerising experience.
from “Under the Radar”

http://www.thetrons.co.nz

DISCO VOLANTE
First time out for these guys, Dean Ballinger of Hollow Grinders fame plugs in an old Farfisa.. routes it through some pedals and feeds them with Krautrock brain patterns. joined by bass player Dan Looker.. and motorik drummer Stan Jagger.

DONKEY BIGG TI##IES
Wintec performance duo experiment with drums, a projection screen and an ipod. Hypothesis under construction, conclusion not necessary.

SNAKEBEINGS
Emit Snake-Beings, who over several decades has travelled intensively in Spain, Holland, the Middle East, Mexico, America and Japan, is a New Zealand / British experimental filmmaker and musician who has produced over 40 independently released film soundtrack CDs and made a number of short experimental and narrative films in Spain, U.K. and New Zealand. After completing a joint degree in computer graphic design and film studies, Emit has recently moved towards ‘material’ animation employing puppetry and video stop motion combined with computer post-production.. His latest film project, in collaboration with http://www.obertfunciona.es , from Tarragona is called ‘Plastic’ and is based on a Petroleum Cult set in the near future in which Oil Relics are worshipped to a point of insanity.

http://www.snakebeings.co.nz

THE SHRUGS
Indie rockers The Shrugs round of the evening bringing sanity and salinity to a night conceptually still under random control.

http://theshrugs.bigcity.co.nz/

The crumbling lattice rock and cherubic choral goo of Stefan Neville’s Pumice (http://www.myspace.com/pumarse) was last witnessed here alongside US’ Grouper and has more recently been performed over in the States itself, meanwhile being committed to record on both Soft Abuse (Wooden Wand, The Futurians, Hala Strana, The Skygreen Leopards) and Dirty Knobby (Astral Social Club, Peter Wright, Our Love Will Destroy the World). It’s difficult to elude the exoticised imagery of lo-fi loner/zoner/stoner frequently superimposed over Neville’s entire practice, but it’s definitely hinged between detonation and dilapidation, two bi-polar tendencies in rock and roll. As Neville himself suggests, ‘Perseverance’ is central to the act’s modus operandi: “The instruments are wearing out, the guitar gets harder and harder to tune, the tape loops get sicker and the batteries get flatter”, but it’s this loaded fragility and micro-catastrophic eventfulness that makes it so magnetically compelling. Its self-destructive and bee-line Thanatos is its very vivacious and celebratory impulse, and it’s this virtuosic recklessness that keeps us reaching out to the passing sphinx punk briefly beheld within the music.

Tiny Mixtapes: http://www.tinymixtapes.com/Pumice
Pitchfork: http://pitchfork.com/reviews/albums/10481-pebbles/
Dusted: http://www.dustedmagazine.com/reviews/4619

“Veteran member of the global coalition to implode rock into its most gritty and granular purities” – Impose Magazine

“The kind of mumble-vectors that stefan has been pioneering for the last few years are, in my mind, right up there with those of sterling motherfucking smith ... certainly in the sheer range of neville’s private universe / bedroom trajectories ... add to this hacked consumer electronics and casual destruction of musical logic; there’s nothing about this that i don’t like’ – Mimaroglu

“Stefan Neville excavates the mutant rock of Simply Saucer & the idiosyncratic, rhythmic compositions of Moondog (at his most playfully abstract), and re-contextualizes those touchstones via the pages of a mid-70s Incredible Hulk comic book” – Soft Abuse

_

VOLT is the fried electromotive psych and friable hack-fi out-of-it-ness of Dunedin’s Peter Gorman, Justin Taulu and Richard Scowen. Gorman and Scowen’s polymathic utilization of crosswired synthware, rerouted gadgetry and homespun anti-specialized miscellany – including the Fustigator and the Thunder Stick, plus the recently debuted 12-oscillator hat – is as reprogrammed and hornet-like as the interstitial swat and punch of Taulu’s #8 Taiko incantations.

RICHARD SCOWEN’s solo project employs a similarly sprawling mandala of devices, its dusty undulations and Xpressway-like scrub-chimes tolled and droned as a gauzy euphony that invokes the palimpsest minimalism of Frippertronics, the thrummed and thawed vignettes of Alistair Galbraith, the post-freakisms of Starving Weirdos and the Neu-Kosmische of acts like Emeralds, Growing and Sunroof! However, as the flawlessly titled ‘Southern Sparkle Morning Gothic’ from his early-2009 self-release as The Coloured Crystals Have Tone suggests, Scowen’s in a pretty remote and unmapped, but totally amazing place.

The proton b-punk and recalcitrant rock of The Futurians has been described by their Minneapolis label, Soft Abuse as 'analog futurism performed by a group of sci-fi addicted noise freaks.’ Its zonked clique of superheroes, consisting of Duckling Monster, CJA, Mandroid, and ISO12, creates a garage din straight out of the border territories of some bio-junk comic plot in a windswept cathode past. “It's Wolf Eyes meets The Troggs, Teenage Jesus & the Jerks meets This Kind of Punishment’, Soft Abuse continues. They’ve left a myriad of marks alongside Robedoor, James Ferraro, C Spencer Yeh, Ducktails, Bobb Bruno, Kevin Shields, LSD March, Fursaxa and Kraus on imprints like Arbor, Abandon Ship, Taped Sounds, Last Visible Dog and CJA’s own cult, Root Don Lonie for Cash and Hard Drugs. They’re joined by a solo CJA himself, compatriot robo-grot duo, Murderbike, Wellington’s euphoric somnambulance-chasers, Zombie?Fuck! and Bangkok’s Grunge Genesis. Crash landing space probe funk and emblazoned astro bebop jammed mainly from the blazed planet of Dunedin but aimed straight for your universal arcade cerebellums.

Shayne Bowden is an Australian sound artist, writer and curator based in Fukuoka Japan. His practice switches between power electronics and percussion, and he has played alongside the likes of Eugene Chadbourne, Tetuzi Akiyama, Lawrence English and Acid Mothers Temple. In 2003 he founded DETERRA, an organization that has produced live shows by the likes of those listed above, and the AGAINST: Fukuoka Extreme Music Festival that has played host to noise legends, Incapacitants, Masonna and Jazkamer.

Fence is the Christchurch trinity of Into the Void’s Dave Imlay and Paul Sutherland, and fabled Flying Nun videographer and Terminals’ bass wizard, John Chrisstoffels. The formers’ guitar / turntable eruption is spliced open by the ragged glissandos and countershape drones of the latter’s Theremin and violoncello, producing a mud-crystal din that’s as rarefied as their appearances together as a cult ensemble.

Richard Neave is the Lautréamont of NZ noise. His phenomenological description of evil through sound, in critic Alex De Jonge’s words, forces his listeners to stop taking their world for granted. He shatters the complacent acceptance of the reality proposed by their cultural traditions and makes them see that reality for what it is: an unreal nightmare all the more hair-raising because the sleeper believes he is awake. Neave channels the twin infinitives of both Keiji Haino’s charged palmistry and Stephen Wright’s lethargic hilarity in one contorted Peter Townsend arc, swatting flies with decelerated, Penderecki-like precision and Harry Pussy-esque insubordination, and confusing R.L. Stine horripilation with fuzzbox Elmo tickle. Dexterous and Allergic.

A one day celebration of electronic music bringing together New Zealand’s largest collection of classic synthesiser’s and drum machines. Performances and demo's by Jed Town and Tom Ludvigson (special one off performance titled "Radioactive Waste",
Nigel Russell (Car Crash Set),
Nathan Haines,
Lewis McCallum,
The "Analog Allstars" live techno jam,
Tim William,
Stress Cadet.

This is your chance to come and play some of these vintage and modern synths, meet some of the collectors and learn about the history of electronic music machines in New Zealand.

Please visit the website for full lineup and synth / drum machine kit list for the event.

http://www.musicmachines.co.nz
http://www.facebook.com/musicmachines

weekly nights of creative music, improvisation and alternative composition.

tuesdays

for details: http://talesofthevoice.wordpress.com/

contact noel meek for performance opportunities: bootlegginteacher@gmail.com

None and Claude&Power are excited to bring to Dunedin Ducktails!

Ducktails is the one man psychedelic pop project of New Jersey’s Matthew Mondanile (Predator Vision, Real Estate, Dreams in Mirror Field). Through the warm drone of a tape hum he presents an AM style pastiche of popular music, and is at the vanguard of everyone’s favourite new genre – ‘hypnogogic pop’. Live, Mondanile conjures psychedelia from the tropics creating musical utopias on a canvas of lo fi basement pop. A one man mega jam band, Ducktails will dig deep into your memory and present the finest parallel universe of popular music pleasantries.
And to deck out the bill in glorious molten eclecticism:

The Aesthetics (Matt Middleton, Edie Stevens, Malcolm Deans)

The Forgotten Guests (Katrina Thompson, Leyton of Rotor+)

Alex MacKinnon

9th october, NONE, 24 stafford st, 9pm, $5!!!!!!

Altmusic and the Dunedin Public Art Gallery are very proud to present Chris Watson, for a live multichannel diffusion mix of the pieces 'Midnight at the Oasis' and 'Oceanus pacificus'.

Chris Watson is a heavyweight in the avante garde world for his work with field recordings. A founding member of late '70s techno and synth-pop innovators Cabaret Voltaire and, later, ambient-industrial fusioners the Hafler Trio. In something of an odd switch, Watson left the music industry behind in 1985 to work as a sound recordist for the Royal Society for the Protection of Birds. He quickly branched out into production for film and television and has since handled field recording for a number of nature programs and documentaries, including David Attenborough's "The Life of Birds" which won him a BAFTA for best factual sound in 1998.
In 1996, after collecting hundreds of hours of location recordings from less accessible regions of the world, Watson returned to music production, releasing his first-ever solo album "Stepping into the Dark", on the Touch label. Actually a compilation of recordings of natural settings spanning from Inverness to Kenya to Venezuela to Cumbria, the release was lauded internationally and received an Award of Distinction at the Prix Ars Electronica Festival in Linz, Austria. His second album "Outside the Circle of Fire" was released in 1998 and "Weather Report" from 2003 was listed amongst the Guardian newspaper's "1000 albums to listen to before you die".
In 2006 he was awarded an honorary Doctor of Technology degree by the University of the West of England "in recognition of his outstanding contribution to sound recording technology, especially in the field of natural history and documentary location sound"

>>>>>>>>>>>>>>>>>>>

PSN Electronic: Ten Years of Bad Sleep

PSN Electronic (Peter Stapleton, Nathan Thompson and Susan Ballard) explore the alchemical process of turning electricity into sound. Each of their performances is formed through a system of constraint. In this performance the group will improvise with a collection of faulty CDs and processed electronics. The work will make audible the sounds of the technologies used as well as the dislocated messages they transmit, sculpting them into a work that explores sound through electronic and analogue corruption. For this, PSN Electronic will use a collection of CDs originating from a faulty pressing of a Sleep album released in 1999. These CDs will be further damaged making audible the cut and paste aesthetic of packeted information. The piece will last around 40 min.

>>>>>>>>>>>>>>>>>>>>
Chris Watson
PSN Electronic

Dunedin Public Art Gallery Mezzanine

8th October

8pm (Sharp!)

$10, $8 with R1 card, student, etc.

Take a trip back to the 1982 summer season and come parasailing through sun-stoned peach skies and glimmering turquoise waters for this special one-off Christchurch show by Matt Mondanile’s DUCKTAILS. 2009 has been a momentous year for this New Jersey native, who has released two acclaimed LPs on label du jour, Not Not Fun and boutique Olde English Spelling Bee, and a veritable mass of other material under various aliases such as The Parasails and Predator Vision, his blog-darling band Real Estate, and the continental offworlder unit, Africa Germany Germany Mexico Turkey Australia. There’s a halcyon, suburban warmth evident in Mondandiles recordings - sandbox memories and backyard feelings materialize like sun-flared and colour-saturated photographs from his crackly cassette reels. At the same time, his jams are infinitely exploratory, particularly on his latest solo LP, Landscapes, where exotic samples, swirling synthesizers and golden guitar lines float unhinged through pastel atmospheres and permeable timelines via magic carpet, creating some intensely visual evocations through sound. Mondanile skillfully weaves his love of classic AM pop and half-remembered 80s cultural totems through layers of blissful sound waves and primitive tropical riddims. The result: hypnotic, inviting, strangely familiar and totally peaced-out. Recently named by The Wire magazine alongside Ariel Pink and James Ferraro as a key figure in the hypnagogic post-noise US underground, Mondanile has also garnered glowing reviews from The Village Voice and Pitchfork Media following months of love across the blogosphere. Stay chill.

Ducktails label-companion, erstwhile London resident and New Zealand native, PETER WRIGHT has a myriad of virtuous releases and live performances to his renowned credit, sharing rosters and live bills with the likes of Raccoo-oo-oon, Pocahaunted, Yellow Swans, Hush Arbors, Uton, Best Coast, Astral Social Club, MV & EE, Starving Weirdos and Ashtray Navigations. Like Mondanile, Wright is preoccupied with the oneiric dimensions of musical creation - ‘sounds that induce daydreaming’ as he put it in a recent Foxy Digitalis interview – but his palette is a deeper abstraction of the quotidian daze din, what The Wire magazine’s Jon Dale has described as an ‘evocation of personally and psychically loaded places [that] could well act as a sequel to [Roy] Montgomery’s defining opus’.

NOT EVEN OWLS is the fabulously christened union of Dunedin’s Edie Stevens and Toki Wilson, both bastions of the city’s experimental noise and rock un-scene, and residents of one of the country’s most vivacious artistic spaces, None Gallery. Their 2008 live release from Wellington’s Spacething – where they were joined by Rory Storm’s Nick Wotton – sounds like it was recorded straight to endangered flora, crumpled up in the bottomless pockets of time-sliding botanical smugglers and narrowcasted to the listener’s skull through the knotted gusts of recycled 90’s microcassettecetera. Both Stevens and Wilson are members of the community hall improvisational band, Piano Queen Rainbow Star Telephone (PQRST), who have some recent psalms out on Belgian imprint, Fictitious Sighs, while the nightmare-dub of Wilson’s solo endeavour as Bullied at School and contributions to crag-beat Varèse-disco gang, Dirtroom have been published on mind-brother Alex Mackinnon’s Radio Jaundice. Not Even Owls’ drums and guitar inferno is at once dark and path-revealing, desolate and embracing.

ADAM WILLETTS & LA LAKERS’ iridescent mantra pop and mangled jangle jug-stomp has affinities with the maximal glam of Wuthering Heights and Suzanne Vega but travels just as efficiently as the endless bummer crescendos of Frankie Teardrop, crematory funk and processional requiem jazz of Faust IV, Cluster and Harmonia, picture book kismet trance of Kemialliset Ystävät, and arced retro eternity gospel of Ash Ra Temple’s Schwingungen. Willetts’ swum modular-synth currents layer up and lay up around Lakers’ sung assists, chipmunk hologram grot and birds-eye limb-flay spirit whir, the former’s blipped cloudbusting freaker licks lifting the nanotechnological standards of the latter’s straight-edge slacker crack to the xeroxed and imaginary max.

Altmusic is proud to present Chris Watson as the final artist in 2009's performance series.

Chris Watson is one of the world's leading sound recordists specialising in capturing the sounds of wildlife and natural phenomena.

Watson puts his microphone where you can't put your ears. In this performance you might hear the unearthly groaning of an Icelandic glacier or the voices and rhythms of the Humboldt current around the Galapagos Islands.

Watson has released three solo albums of field recordings on Touch Records: Outside the Circle of Fire, Stepping into the Dark, and Weather Report (recently named in the Guardian Newspaper's 1000 Albums to Hear Before You Die List).

He has also released a variety of works in collaboration with other artists, including Star Switch On, a collaboration with Mika Vainio of Pan Sonic, Philip Jeck, Hazard, Fennesz, AER, Biosphere, and BJNeilson.

In 2006 Watson was awarded an honorary Doctor of Technology by the University of the West of England "in recognition of his outstanding contribution to sound recording technology, especially in the field of natural history and documentary location sound."

Chris Watson (a founding member of influential experimental music groups, Cabaret Voltaire and The Hafler Trio) currently records for and makes programmes for BBC Radio 4's Natural History Unit.

For more information about Chris Watson's extensive audio career, see http://www.chriswatson.net/

AUCKLAND - 7th Oct @ The High Seas with Richard Francis and Rosy Parlane

8 pm $10

Free artist talk at 5.30

DUNEDIN - 8th Oct @ DPAG with psn electronic

8 pm $10/$8

CHRISTCHURCH - 9th Oct @ 84 Lichfield Street with Stanier Black-Five
and Sea of Holes

9 pm $10

WELLINGTON - 10th Oct @ Adam Art Gallery with Live Soundmap of Red Rocks

8 pm $10

Workshop at Freds 4 pm

Born in 1955, based in Tokyo, Shoji Hano is one of free-jazz, noise and psychedelic rock’s most preeminent percussionists and brilliant all-round sages.

Widely regarded on the same consecrated plane as celebrated jazz heavyweights, the late Rashied Ali, Milford Graves, and his own mentors Max Roach and Art Blakey, Shoji’s solo drumming is a mesmerizing feat to witness, and displays a bewildering dexterity that’s both physically and psychically difficult to attribute to the motions of one individual player.

Sketching and tracing moiré-like patterns with his limbs, Shoji’s flurrying percussive vernacular is disciplined and virtuosic, while remaining spirited and idiosyncratic. Intricate cross-patterns and superimposed timings bubble up and collide with furious detail, subsiding in cyclical and funky grace before erupting again with colourful exuberance.

His adroit Octopus-like beats and fizzy punk rhythms have been heard in a countless array of collaborative recordings with the esteemed likes of late pioneering guitarist, Derek Bailey, Acid Mothers Temple’s Kawabata Makoto, Fushitsusha’s Keiji Haino, Eugene Chadbourne, and cult Japanese psychers High Rise. His work has also appeared on renowned labels, P.S.F. and Improvised Music from Japan.

Christchurch gig: HSP, Tue 29 Sep, 8pm with Reuben Derrick, IRD, Adam Willetts

Dunedin gig: Dunedin Public Art Gallery, Thur 1 Oct, 8pm, with Lee Noyes, Rory Macmurdo, Alex Mackinnon and Peter Porteous
Dunedin workshop: University of Otago School of Music, Fri Oct 2, 2:30pm, free

Wellington gig 1: Adam Art Gallery, Sat 3 Oct, 6pm, solo, free
Wellington gig 2: Happy, Sat 3 Oct, 10pm, with the Honkies and Secretaries on Standby
Wellington gig 3: Freds, Sun 4 Oct, 7:30pm, with A Donaldson, D Beban, j Henderson and T Callwood
Wellington workshop: NZ School of Music, Massey University, Mon 5 Oct, 1pm

Auckland gig: Wine Cellar Lounge, Sat 10 Oct, 8pm with Clinton Watkins, Dean Roberts, Chris O’Connor, Paul Winstanley, Jeff Henderson, Paul Buckton
Auckland workshop: Wine Cellar Lounge, Sun 11 Oct, 6pm

Radio Active 89FM loves you, so come party with us! Four of Welli's best bands and 10 of Wellis best DJ's all under one roof.
Introducing rising star Rap Authoritar, rhythm king Rio Hunuki-Hemopo, future folkesque Family Cactus and a rare exclusive performance by "Mr eclectic-ronica" Module.

Confirmed DJ's: Lotion, Dr Dude, Knave Knixx, Maximillion, Ayesha, Roddy, Omega B and more to be announced.

$20 from Rex Royale, Radio Active or more on the door. Heaps of prizes up for grabs, party drink specials and community culture.

Producer of hits like 'Love is my Motor', 'Balls', 'Eurovision / Otravision' and 'Dance Classics', ILIOS is dance music’s brain-mulching enemy. Architect of some of the most austere and extreme sonic creations that are equally contemplative in their captivating realisation, the Greek composer and Spain-based curator has worked alongside an array artists working on similar exploratory fronts of music, such as Sonic Youth’s Thurston Moore, Francisco Lopez, Sachiko M, Steinbrüchel, Jazzkammer, Daniel Menche, Reynols’ Anla Courtis, and the Basque provocateur, Mattin.

ILIOS’ music investigates the limits of audibility in embodied listening encounters through the use of extreme frequencies and treated sonic ambiances, which are fed back with immersive and disorientating complexity into the equally resonant performance space. ILIOS has recently constructed an installation using the internal combustion engine vibrations of a car at the Athens Bienalle, contributed work to a moving train installation alongside Hecker, AGF and COH, while curating “Electrograph – "Athens Sound Media” a festival on sound media in Athens, [Un]Commonsounds project and SDR Muestra de Arte Sonoro de Santander in Spain.

Presented by HSP in association with Christchurch Art Gallery’s Showcase International Series, sponsored by The Press.

www.siteilios.gr, www.antifrost.gr, www.electrograph.gr,
www.uncommonsounds.org, www.christchurchartgallery.org.nz

xNOBBQx (brisbane)
Creche (christchurch)
Wu
Not Even Owls

@ NONE! 24 stafford st/ Dunedin/ saturday 26th Nov/ $5/ 9pm.

http://none.org.nz/

http://www.facebook.com/inbox/?ref=mb#/event.php?eid=131132977171&ref=nf

http://www.myspace.com/xnobbqx

http://www.vimeo.com/5256435

The Australian drums and guitar duo xNoBBQx are frequently compared to North American noise-rock legends Harry Pussy and Mouthus et al., but as its members Nik Dan and Matt Earle suggest, that’s only a point of reference for hipsters and themesters. Their deconstructive seizure punk might be a more direct channeling of the disobedient spirits on our own Bruce Russell’s legendary Xpressway label. ‘If the Dead C are the AMM of punk rock’, Seht’s Stephen Clover has suggested, ‘then xNoBBQx are a stop-motion Morton Feldman’. While sandwiched between the shitgaze and ethereal fog-dub of their Siltbreeze siblings, Ex-Cocaine, Psychedelic Horseshit, Fabulous Diamonds, Times New Viking, Pink Reason and US Girls, No Barbecue depart for an even further offworld plane, espousing a kind of gravity-irrespective devotional gamelan that’s dialed back to earth in splattered fits of melted free-jazz, ruptured Hendrix shreds and asteroid No-wave. Dan built his own kick drum out of a washing machine and Earle lists faith, danger, and Eric Clapton amongst his primary influences. ‘Dusty, primitive auto-shop floor oil-gunk from a couple of mono-syllabic jolt-action retards hailing from the hills of New South Wales’, continues Clover in his eulogistic dis, and it’s an appropriate précis of a puerile genius and mutant telepathy that to witness is one-part stand-up and the rest, pretty life-threatening.

Grunge Genesis is smuggled chandelier jungle scumprog and fair trade nootropic chug spazz. Here, they’re joined by aforementioned Dead C / Handful of Dust / Xpressway / Hermescorp arch-sorcerer, Bruce Russell to evoke the absent presences of the Thai DVD Plaza, Willem Defoe and Hoyts 6. Clear and fun.

The bent, de-learned and congested drone, rear-ended syncopations, psychotropic jazz, autistic ragtime and geological gangster punk of Columbus, Ohio’s Pink Reason is made by a leviathan of transitory board members chaired by one Kevin de Broux, the witchdoctor of spiked rhumba dance contests and wrong Powerpoint presentations. Entirely uncertified sonic bookies and musical genre traitors, their sound can vary radically from Health & Medicine to New Age Religion & Philosophy to Business Directories. Total Purity and Danger. Variously described as ‘gothic basement post-punk’, ‘heroin rock for folkies’ and ‘robitussin blues’ by de Broux himself, Pink Reason’s sound has unkempt affinities with Siltbreeze and Woodsist labelfriends, Psychedelic Horseshit, The Dead C, Harry Pussy, Times New Viking, and Axemen, but their dropped library funk is probably the most self-consciously untalented and retarded of the lot.

Brian and Maryrose Crook’s principal work in the Renderers has appeared on Siltbreeze, Last Visible Dog, Flying Nun and Drag City, while Crook has axed dunes in half with The Terminals and Flies Inside the Sun, themselves a crucial early constituent of Kranky, and a band who appeared alongside Ashtray Navigations and Sunroof/Skullflower’s Matthew Bower on an 8-way label collaboration that included (K-RAA-K)³ and Ecstatic Peace! They’re joined by a mutant infant improv cycling team called Crèche in a project that’ll probably be called VIVID CLOUD / LUCKY DIN. It’s essentially squelchy piss jazz, muted jerkcore percussive rage and opera prepunk that splays out and layers up the goblet murk and riverine foundations for the Crooks’ ethereal angel trash to soar over all preternaturally and piratically. Chime and clang gemology.

Adam Willetts and NDLSS DMNSN play sonar music by genetically changed short-circuited, ocean-sized schools of supersonic and ectoplasmic WowWee Alive Panda Bear Cub Plush Robotic Toys. NDLSS DMNSN wields clairvoyant guitar powers and percussive elegance unmatched by the reverie traits of most other musical air movie dreamstraiters, while causing harsh as muck wrought iron eclipses to collide with endlessly contorted Jackson-5 loops, ominous hi-profile snuff-rock homicides, slo-mo organic gun shot wounds and punctured Dame Malvina space lungs, spliced Jennifer Hudson bowels, and true post-Xpressway downer ascension. In his own words, Willetts sounds like ‘Omit covering the Bladerunner end credits music (via 1975 vintage Ash Ra Tempel and Tangerine Dream)’, but he comes right of the movie Demons style, preying upon your wobbly fears of psych blueberries, see-thru mobster unicorns, crushed 666bpm marble dénouements, Pat Boone and Olympic synchronized swimming.

Ohio’s Ryan Jewell is Secretary of both the UFOlogical Drummer Summit and Abducted Rare Species Groove Conference, 90210 A.C. Antenna to the percussion deities, Jewell channels the same octopus tempers as fellow un-counters, Chris Corsano, Edie Prevost, Tim Barnes, Chris O’Connor and the Dialogue of Drums, but lands in a separate dyslexic ocean completely, soft abrasions and filament scratches hook up on a dexterous mulch tide of brush slithers and skimmed respires, all with the most minimal of instrumental elements. ‘It's all acoustic’, the artist describes his Blackest Rainbow release. ‘Supersonic acoustic sine waves interfering with one another making audible sweeps, etc. It's all just a floor tom. Secret fuckin' ninja jedi mind moves and shit’. He’s splashed crystals and huffed concrète with likes of C Spencer Yeh, Greg Kelley, Wasteland Jazz Unit, Psychedelic Horseshit and Pink Reason, who he’ll join on the kitset on the night after, but Jewell is a pretty dro¬pjaw player in his own right as a mind-resetting soloist.

Matt Whitehurst is the conscience and intelligence behind the ‘crack-house disco and tin-can post-punk’ secretions of Psychedelic Horseshit, who have appeared on labels Woodsist and Siltbreeze alongside Raccoo-oo-oon, Wooden Wand, Wooden Wand, Wavves, Sic Alps and Blank Dogs, and many others. Commissioners of Shitgaze, the aptly manicured christening of a musical language that is scatological at its most refined, Horseshit captures what Siltbreeze calls the ‘rickety skeletal pop of Step Forward-era Fall, the lo-fi fuzz of Swell Maps, and static noblesse of Slay Tracks-era Pavement’, but turns this historical mandate into a filthy abstract matter of botched skank, fucked pop, gashed Folkways excavations and expelled school bully blues. Whitehurst also appears solo before joining Pink Reason on Wednesday the 16th. Glam has left the building.

Bruce Russell is THE most preeminent and influential musician this country, if not the planet has seen and heard. His band, The Dead C has spawned more soundalike bands than Wagner, and he has appeared on an array of labels, such as John Wiese’s Helicopter (Haters, Merzbow, Yellow Swans), Smalltown Supersound (Jazzkamer, Kevin Drumm, Jaga Jazzist), Ecstatic Yod (Sunburned, Gang Wizard, NNCK, Destroy all Monsters), Chocolate Monk (Melt Banana, Harry Pussy, Richard Youngs, Incapacitants, Neil Campbell, The Skaters), Spirit of Orr (Axolotl, Ashtray Navigations, MV&EE), Ba Da Bing! (Comets On Fire, Six Organs Of Admittance, Beirut), Fat Cat, Sub Pop, Siltbreeze and Mattin’s W.M.O./r. His own labels Xpressway and Corpus Hermeticum have played host to a similarly proliferate amount of dream groups and sound wizards: The Shadow Ring, Flying Saucer Attack, Tetuzi Akiyama, Taku Sugimoto, Sonic Youth’s Thurston Moore and others. Ambient punk brains, grunge treatise sage, mock-theoretical genius, Power Ambient architect, emotional hardcore psychopathologist and investigative shogun, Russell is Heliocentric lifer and amethyst axis of the galaxy eros.

Piano Queen Rainbow Star Telephone
are playing at None this saturday evening
after 9pm

PQRST is a large improv band involving:
Motoko kikkawa
john white
alex mackinnon
katrina thompson
toki wilson
edie stevens
rachel blackburn

organs/ strings/ turntable guitar amps/ lots of shit everywhere

http://www.vimeo.com/groups/none/videos/5561336

The Borderline Ballroom presents

New Selves

Saturday 22 August, Wunderbar, Lyttelton, 9pm, $5

Oh Mental Hospitals (Chch)
The New Self (Dunedin)
David Khan (Chch)

Oh Mental Hospitals is the current label of convenience for the latest project dreamed up by long-term collaborators Peter Wright, Mikel Goodwin, Rustle Covini and David Khan. Formed November 2008, this new combo emphasizes repetitive riffs, rhythms and loops punctuated by sudden unified shifts in pitch or tempo. The instrumental ingredients hail from rock and electronic music (i.e., everything from a drum kit to computer-generated effects), and so do some of the compositional and performance strategies employed, but this new endeavour defies easy pigeon-holing.

The New Self is an intense and expressive Dunedin-based acoustic 2-piece featuring Laurence Smith and Ed Wilson that initiated operations autumn 2008. This striking new project uses the minimalism of its approach like a razor, addressing themes of love, power, addiction, faith and abjection.

David Khan presents a solo instrumental outing, which continues his longstanding interest in semi-improvised forms and textures. Expect something old and something new.

Playing in Auckland this thursday, July 30th at Sky bears cuddle den will be Australian lo-fi drone-drone hardscape ambient pop artist ALPS playing with the infinite Golden Axe and the evil and mediocre washout-timewasters Stress Cadet.

The show is only $5. Starts at 7:30 and will finish before midnight. You do the math.

'Skybears cuddle den' is located at 21 mercury lane, newton(off K'rd )...next door to the mercury lane foodcourt. SO if you dont like the absurd post-human trash-aerobics of stress cadet and golden axe or the holy dirt of ALPS....then you can go next door and eat a masaman curry.
Regards,
Damian

http://www.einsteinmusicjournal.co.nz/
http://www.myspace.com/alpsalps
www.myspace.com/goldenax
www.myspace.com/stresscadetrulzbutsux
http://en.wikipedia.org/wiki/Massaman_curry

HSP SHIFTING PARTY

GREG MALCOLM, LUCIEN JOHNSON & CHRIS O’CONNOR

SAM HAMILTON

GRUNGE REVELATIONS WITH BRUCE RUSSELL

SPACE ARK BAND

VELVET HOUR (TIM COSTER & LA LAKERS)

APRICOT BEATS / PHAROAH CONTRAPUNCH / MADASS AWEPSYCH / TRUANT KOSMISCHE / EMBLAZONED AUTOBAHNS / CARBONATED PUNK / CHRONOSTRATIGRAPHICAL R&B / BOWIE HOTSPOTS / ASH RA PLUMES / MURAKAMI PYROCUMULUS / GOTH PINNACLES / RITUALIZED FROGUEROCK / PURGATORY GAMELAN / SALLY JESSE RAPHAEL

Saturday 1st August – late
HSP gallery (Christchurch)
Performing solo electronics and yahoo’s plus a voodoo free punk psych duo with fellow SPACE ARK BAND drummer Chris O’Connor
With LA LAKERS, Adam Willetts and more!
Celebrating the moving on of HSP’s physical gallery

Saturday 25th July – 1:30pm
Te Tuhi art bus (Auckland)
Solo electronics and bells performance on the bus from ARTSPACE to Te Tuhi for exhibition opening celebration.

Wednesday, 22 July, 1 p.m.
Dugal McKinnon - Diktat, Ditty, Half-life
Chris Watson - Coffe Table Book
Igor Stravinsky - The Rite of Spring (2 pianos)
Pestova/Meyer piano duo, Marama Hall, University of Otago, Dunedin
$2/$5

'Concept' event featuring:
ACT 1: WU - free jazz trio comprising of Matt Middleton (tenor sax) , Lee Noyes (drums and percussion) and Alex MacKinnon (guitars/effects)

ACT 2: CRUDE - performing a special 5 act spoken word/conceptual/exhibit/musique concrete piece
i: statemtn
ii: sound
iii dance
iv: statement
v: conclusion

ACT 3: FREE FOR ALL MEGA JAM - an open mic. anyone and everyone.

undrawing is an audiovisual band without roles, and without compositions. Based in Auckland, New Zealand. It bridges that vast gap between technical command and consolidated musicianship. The result is entirely constructed on stage, with the capacity to explore pure electronica, traditional instrumental improv, or all the permutations inbetween.

featuring:
Abe Kunin: guitar, loops, effects
Alex Freer: drums, Korg ER1, Nintendo DS
Nicholas Rogan: Rhodes, voice, Roland MC505, Korg Kaoss Pad 2, Korg Kaoss Pad Mini, compressor, mixer
Chris Targett: Fluxus live-coded visuals

MARTYN REYNOLDS /

DISNEYLAND / D'ORSAY / DAYPASS / DOORPASS /

LIVE SOUND BY CRECHE, ADAM WILLETTS AND NDLSS DMNSN /

THURSDAY 16 JULY / 8.30PM /

HIGHSTREETPROJECT.BLOGSPOT.COM /

Xenia Pestova and Pascal Meyer, pianos
Philip Brownlee, sound projection

For more information on the project: http://xeniapestova.com/mantra.html

REASONS AND CELEBRATIONS:

1 - its the official after party for the new expanded cinema show at Gus Fisher with Australian experimental film guru's Dirk de Bruyn and Joel Stern with the Parasitic Fantasy Band (Eve and Sam) and Nova Paul.

2 - finally, after half a year of waiting, its the official release party for Sam Hamilton's new full length CD "Sooty Symposium"!!!

3 - as well as the Launch for Adam Willetts new CDR on Fictitious Sigh's

4 - then it just so happens to be TIM COSTERS BIRTHDAY!!! yaahooo (happy birthday Tim!!!)

5 - our beloved Josh Rutter is growing wings (or is it gills?) and is departing our fair shores (and Sky Bear's Cuddle Den) for ecstatic new futures abroad so its all his FAREWELL PARTY! (bye Josh, we'll miss you!)

6 - 6 is for every other fantastically fucking awesome reason why we should all get together and enjoy something.

ADAM WILLETTS
........................
- (all the way from Christchurch with his super fucking duper new totamic synth waves)

SILENT SPRING
.....................
- Tim Coster, Josh Rutter and Shannon O'Brien's (all the way up from Christchurch!) fantastic late night mystic atmospheres. probably the last time to catch this stellar line up!

HOMOSAPIEN SPACE ARK BAND
....................
- new ecstatic voodoo free punk afrobeat echo dance band with double ritual drummers CHRIS O'CONNOR and STEFAN NEVILLE, JOE PINEAPPLE on pyschic bass death, JOEL STERN (from Australia) on space trumpet and electric microscope and SAM HAMILTON on electric guitar vibes and amp whistles

LIPAZANNAS
..................
- psychedelic Latin trance jazz party music big band

MOCHI
..................
- Josh Rutter's space disco from planet gratuitous booty

16mm celluloid splatters by DEREK GEHRING
.................
- but what, what?

party starts roughly after the Gus Fisher show, 9:30 or something and will go ALL NIGHT!!!!!!

so yes:
entry is $5 (to pay the musicians for their hard work)
but BYO otherwise

see you there you jungle city mooshkins flying concrete carpets!

A concert of live, expanded and experimental cinema from Joel Stern (Brisbane), Dirk de Bruyn (Melbourne), who are presenting Retinex Reflux, a traumatic cine-ritual performance for multiple 16mm projectors, handmade film, sound collage and unhinged mouth music.

Also featuring peformances and screenings by:

The Parasitic Fantasy Band

Between multiple film projectors, bending mirrors, light fracturing objects, organic materials, gongs, electronics, field recordings, resonating strings and space’s emerges an ecstatic engagement of the senses. An activation of the space around you and the inhabitants sharing that space with you with light and sound, that and the possibility of stepping into a new ephemeral territory of existence and explorative perception, exotically alien yet fundamentally familiar.

Nova Paul

Nova's recent 16mm film works have been exploring the beautifully fascinating and intricate techniques of 3 colour separation.

Organised by the New Zealand Film Archive, Otherfilm, Cinema Ascension and Floating Cinemas collective. With special thanks to the Australian Government for generously supporting this event.

http://www.creative.auckland.ac.nz/uoa/home/about/art-collection-and-gal...

Saturday 13 June, 7.00pm Light Piercing the Nerve – a performance by Abject Leader (AU, 60 minutes, Exempt) Abject Leader is an ever–evolving film and music project between Sally Golding (film, projectors) and Joel Stern (concrete sound). Based in Brisbane, Abject Leader perform ‘expanded cinema’ pieces with multiple 16mm projectors. They describe the key ingredients of their performances as handmade and hand processed film, feedback systems, incongruous foley noise, sprockets and flicker, trumpets and strings, specially prepared screens and alienated narration. http://www.filmarchive.org.nz/index.php?option=com_events&task=view_detail&agid=1139&Itemid=1 http://www.abjectleader.org/

Friday 12 June, 7.00pm

Retinex Reflux - a performance by Dirk de Bruyn (AU, 60 mins, Exempt)

Over the last 30 years Melbourne-based film-maker, writer and academic Dirk
de Bruyn has made numerous experimental, documentary and animation films
and videos. In his first visit to Wellington he presents Retinex Reflux; a
live film performance that uses multiple 16mm film projectors in an
explosion of light, colour and sound.

http://www.filmarchive.org.nz/index.php?option=com_events&task=view_deta...

http://www.innersense.com.au/mif/debruyn.html

The Berlin group PERLONEX’s flurrying micro textures and corrupted electro-acoustic zones have taken them on a twisting incursion across some of the most persistently radical and inventive musical fields of thought and experimentation. While the trio have collaborated and played alongside an esteemed line-up of disparate spirits that have included pianist Charlemagne Palestine and Keith Rowe (AMM), its individual members have done time with an even more proliferate array of iconoclastic luminaries, such as Don Cherry, Zbigniew Karkowski, Jason Forrest, Anla Courtis (Reynols), Philip Jeck, The Haters’s GX Jupitter-Larsen, Xavier Charles, Valerio Tricoli, Toshimaru Nakamura, Phil Minton, and our own Greg Malcolm. Percussionist Burkhard Beins’ Polwechsel has appeared on fabled UK label Erstwhile in tandem with Fennesz and prolific Swiss imprint Hat Hut, alongside AMM’s John Tilbury.

As Nick Cain writes, Perlonex’s “music is in a state of constant movement and advance, and though the rate and speed at which it shape-shifts varies greatly, it is never static. Comparison has been made to AMM, and there are surface similarities in the use of layers of sound in the construction of the improvisations, but Perlonex’s electronic source material is significantly more dynamic, and the range of sounds it generates broader”.

DATES :

Auckland - Thursday 25 June
with Dr Quirky's Goodtime Emporium Band
Cross St Studios
8pm

Wellington - Saturday 27 June
with Bad Statistics
Happy
8pm

Christchurch - Tuesday 30 June
with Preschool
Provincial Chambers, Durham Street
7.30pm

Cream were a 1960s British blues-rock band and supergroup consisting of bassist/vocalist Jack Bruce, guitarist/vocalist Eric Clapton, and drummer Ginger Baker. Their sound was characterised by a hybrid of blues, hard rock and psychedelic rock.

Adam Willetts will be performing at Shirley Library this Sunday at midday as part of Christchurch City Libraries New Zealand Music Month events. http://christchurchcitylibraries.com/Events/NZMusicMonth/2009/

Adam Willetts
Shirley Library (36 Marshland Road next to the Palms)
12pm (this performance will start on time so get there early)
FREE

After recent performances at Dunedin’s Lines of Flight, Lyttelton-based sound artists Stanier Black-Five and Mela make their North Island debuts this month, followed by a special homecoming performance in Lyttelton.

WELLINGTON: 28th May – Adam Art Gallery - 8pm – free as part of the Sound Check series
AUCKLAND: 30th May – The Wine Cellar – 8pm - $5
LYTTELTON with guest, Bruce Russell: 7th June – Unanimity Lodge, 6 St Davids Street – 4:30pm - $5
The audio work of Stanier Black-Five regularly fuses live electronics with environmental recordings and found sounds – from mesmerising aircraft drones to the pounding rhythms of trains. As well as playing throughout New Zealand, Stanier Black-Five has taken her visceral performances to the UK and Europe, playing at events such as the London Musicians Collective’s annual festival of experimental music. She produces the Argot Records label and has had her music released internationally. For this series of events, Stanier Black-Five will develop a dynamic work based on manipulations of port recordings made across the country.
Mela is an experimental audio/visual project that revels in the medium-specific properties of a variety of obsolete media. Her performances combine an almost obsessive degree of preparation with random interjections from misbehaving equipment. She sonically and visually investigates the aesthetics of constrained gesture and broken things by layering repeating melodies, gradually effected drones, and suitably unrecognisable beats to create an imperfect but mellifluous musical microclimate.
Mela and Stanier Black-Five are both active members of the Borderline Ballroom, a collective providing a relaxed space for challenging listening and live sonic experimentation in the city of Christchurch. www.myspace.com/borderlineballroom
Bruce Russell is an improvising sound artist, who since 1987 has been a member of the Dead C. As a solo artist, Bruce uses tape loops, a vintage electronic organ, and a guitar in ways their makers never imagined. He has also been active as a solo artist, and directed two independent labels, Xpressway and Corpus Hermeticum. He writes essays and criticism for The Wire, artists’ catalogues, and other publications. He is currently studying at RMIT towards a doctorate in sound in the School of Fine Art.
----------
The Unanimity Lodge was built in 1876 and is the oldest Masonic Lodge to have been established in the South Island and the third to be formed in New Zealand. The current Lodge members have given a special concession for the use of this historic building for the performance and are offering tours of the building before and after the performance.

After recent performances at Dunedin’s Lines of Flight, Lyttelton-based sound artists Stanier Black-Five and Mela make their North Island debuts this month, followed by a special homecoming performance in Lyttelton. The audio work of Stanier Black-Five regularly fuses live electronics with environmental recordings and found sounds – from mesmerising aircraft drones to the pounding rhythms of trains. As well as playing throughout New Zealand, Stanier Black-Five has taken her visceral performances to the UK and Europe, playing at events such as the London Musicians Collective’s annual festival of experimental music. She produces the Argot Records label and has had her music released internationally. For this series of events, Stanier Black-Five will develop a dynamic work based on manipulations of port recordings made across the country. Mela is an experimental audio/visual project that revels in the medium-specific properties of a variety of obsolete media. Her performances combine an almost obsessive degree of preparation with random interjections from misbehaving equipment. She sonically and visually investigates the aesthetics of constrained gesture and broken things by layering repeating melodies, gradually effected drones, and suitably unrecognisable beats to create an imperfect but mellifluous musical microclimate. Mela and Stanier Black-Five are both active members of the Borderline Ballroom, a collective providing a relaxed space for challenging listening and live sonic experimentation in the city of Christchurch. www.myspace.com/borderlineballroom Bruce Russell is an improvising sound artist, who since 1987 has been a member of the Dead C. As a solo artist, Bruce uses tape loops, a vintage electronic organ, and a guitar in ways their makers never imagined. He has also been active as a solo artist, and directed two independent labels, Xpressway and Corpus Hermeticum. He writes essays and criticism for The Wire, artists’ catalogues, and other publications. He is currently studying at RMIT towards a doctorate in sound in the School of Fine Art.

After recent performances at Dunedin’s Lines of Flight, Lyttelton-based sound artists Stanier Black-Five and Mela make their North Island debuts this month, followed by a special homecoming performance in Lyttelton.

The audio work of Stanier Black-Five regularly fuses live electronics with environmental recordings and found sounds – from mesmerising aircraft drones to the pounding rhythms of trains. As well as playing throughout New Zealand, Stanier Black-Five has taken her visceral performances to the UK and Europe, playing at events such as the London Musicians Collective’s annual festival of experimental music. She produces the Argot Records label and has had her music released internationally. For this series of events, Stanier Black-Five will develop a dynamic work based on manipulations of port recordings made across the country.
Mela is an experimental audio/visual project that revels in the medium-specific properties of a variety of obsolete media. Her performances combine an almost obsessive degree of preparation with random interjections from misbehaving equipment. She sonically and visually investigates the aesthetics of constrained gesture and broken things by layering repeating melodies, gradually effected drones, and suitably unrecognisable beats to create an imperfect but mellifluous musical microclimate.
Mela and Stanier Black-Five are both active members of the Borderline Ballroom, a collective providing a relaxed space for challenging listening and live sonic experimentation in the city of Christchurch. www.myspace.com/borderlineballroom
Bruce Russell is an improvising sound artist, who since 1987 has been a member of the Dead C. As a solo artist, Bruce uses tape loops, a vintage electronic organ, and a guitar in ways their makers never imagined. He has also been active as a solo artist, and directed two independent labels, Xpressway and Corpus Hermeticum. He writes essays and criticism for The Wire, artists’ catalogues, and other publications. He is currently studying at RMIT towards a doctorate in sound in the School of Fine Art.

Journey through space and time in this remarkable 24-hour work from acclaimed composer Warwick Blair. Astronomy meets Indian gandaharva music and electronica in STARS, a multimedia installation that combines original live and recorded music with a stunning six screen video projection of the heavens. STARS is the result of Blair’s collaboration with video artist and astronomer Paul Moss, and Indian vocalist Arpita Chanda, and will be performed at Galatos (Auckland) on June 4 and 5, 2009 - the International Year of Astronomy.

Paul Moss’ pristine video skyscapes will be projected onto six screens on the walls, ceiling and floor of Galatos, creating an immersive, ambient dream-like environment. Audience members are encouraged to come and go throughout the 24-hour performance period (from 10am June 4 until 10am June 5) and experience different parts of the cycle. Blair’s recorded composition plays continuously for 24 hours, and is enhanced by live performances from Arpita Chanda who sings for a proscribed period every three hours.

These three-hour sections – known as praharas in the gandharva tradition - have different musical qualities that reflect their specific period of day or night. The video projections, which took Moss over a year to create, show recording of sky at same time of day. Blair’s multimedia approach extends the traditional Indian idea that listening to gandharva music enhances harmony and wellbeing by tapping into the rhythms of the natural world.

In creating STARS, Blair, whose work typically blends contemporary classic music with the elements of experimental electronic pop culture, was inspired by the concept of anoraniyan mahatomahiyan, and Polish poet Leopold Staff’s work Evening, which includes lines like ‘I lie on a boat in the evening stillness/Stars above me, stars below me and stars within me.’

Oren Ambarchi is an experimental musician whose work explores the effect of music of tremulous beauty played at brutal volume. Born in Australia, he has a long history of challenging, absorbing solo work, and collaborations with some of the most prestigious artists working in the field of contemporary music: ranging from the high art seriousness of Keith Rowe, Evan Parker, Sachimoko M, Phil Niblock and Christian Fennesz, to Dave Grohl and the satanic majesties of experimental metal, Sunn o)), with whom he has recently toured. Ambarchi also played on their recent ‘Monoliths and Dimensions’ and 2005’s bleak masterpiece, ‘Black1’, plays with Greg Anderson and Attila Csihar in Burial Chamber Trio, and released the ‘Grave Temple’ album with Stephen O’Malley. Ambarchi also co-curates the essential ‘What Is Music’, Australia’s most important festival of experimental music.

http://www.orenambarchi.com/
http://www.youtube.com/watch?v=XXP3smULLL4

ROY MONTGOMERY’s discography and performance history is devoid of conceit yet
stretches with utter prolificacy from Flying Nun – with the Pin Group – to Flying
Saucer Attack, who he collaborated with in 1997 for label VHF (Astral Social
Club, Sunroof!, Vibracathedral Orchestra, Richard Youngs), as well as projects
with seminal psyche-ruckus act Bardo Pond and Dunedin band Dadamah, which also
included Kim Pieters and Peter Stapleton of Eye, Terminals and Flies Inside the
Sun fame. As labels Siltbreeze and Kranky enjoy a sort of renaissance, artists
such as Montgomery can themselves revel in a renewed sort of limelight, but it’s
a kind of light that they’ll always elude, instead operating in a realm that’s
brilliant in a totally different manner. It’s thus a rare and special occasion
that provides an audience the opportunity to witness what The Wire’s Edwin
Pouncey has described as a ‘fabled New Zealand guitarist’, a musical cousin to
The Velvet Underground, Television and Wire and a general sorcerer of some of the
most other-worldly yet agrarian sonic experiments and exports this country has
ever paid witness to.
http://www.scaruffi.com/vol6/dissolve.html

Alexander MacKinnon’s place in Dunedin’s current generation of experimental sound practitioners is as multifarious as it is catalytic. His occasional live solo appearances are supplemented with his sound installation practice (characterised by its lo-fi take on media materiality, as well as its careful attention to the spatiality of sound)
He has frequent collaborative performances in the groups Khomet, Dirt Room, the more recent PQRST, and a duo with drummer Lee Noyes, as well as a recent stint in Matt Middleton’s rock band The Aesthetics.
Part of the celebrated Lines of Flight festival and publisher of the “craft DIY” record label Radio Jaundice, Alex also is an event organiser around the None studio artist collective and in the wider Dunedin community with Alt Music’s distributed event series.
http://www.myspace.com/alexmackinnon

Oren Ambarchi is an experimental musician whose work explores the effect of music of tremulous beauty played at brutal volume. Born in Australia, he has a long history of challenging, absorbing solo work, and collaborations with some of the most prestigious artists working in the field of contemporary music: ranging from the high art seriousness of Keith Rowe, Evan Parker, Sachimoko M, Phil Niblock and Christian Fennesz, to Dave Grohl and the satanic majesties of experimental metal, Sunn o)), with whom he has recently toured. Ambarchi also played on their recent ‘Monoliths and Dimensions’ and 2005’s bleak masterpiece, ‘Black1’, plays with Greg Anderson and Attila Csihar in Burial Chamber Trio, and released the ‘Grave Temple’ album with Stephen O’Malley. Ambarchi also co-curates the essential ‘What Is Music’, Australia’s most important festival of experimental music.

Friday May 22nd
Oren Ambarchi 1pm 'Lecture'
@ Elam lecture Theatre
Auckland
New Zealand

Oren Ambarchi is an experimental musician whose work explores the effect of music of tremulous beauty played at brutal volume. Born in Australia, he has a long history of challenging, absorbing solo work, and collaborations with some of the most prestigious artists working in the field of contemporary music: ranging from the high art seriousness of Keith Rowe, Evan Parker, Sachimoko M, Phil Niblock and Christian Fennesz, to Dave Grohl and the satanic majesties of experimental metal, Sunn o)), with whom he has recently toured. Ambarchi also played on their recent ‘Monoliths and Dimensions’ and 2005’s bleak masterpiece, ‘Black1’, plays with Greg Anderson and Attila Csihar in Burial Chamber Trio, and released the ‘Grave Temple’ album with Stephen O’Malley. Ambarchi also co-curates the essential ‘What Is Music’, Australia’s most important festival of experimental music.

Thursday May 21st
Oren Ambarchi solo
+ Expansion Bay
8.30 pm @ Dunedin Public Art Gallery
The Octagon
Dunedin
New Zealand

Oren Ambarchi is an experimental musician whose work explores the effect of music of tremulous beauty played at brutal volume. Born in Australia, he has a long history of challenging, absorbing solo work, and collaborations with some of the most prestigious artists working in the field of contemporary music: ranging from the high art seriousness of Keith Rowe, Evan Parker, Sachimoko M, Phil Niblock and Christian Fennesz, to Dave Grohl and the satanic majesties of experimental metal, Sunn o)), with whom he has recently toured. Ambarchi also played on their recent ‘Monoliths and Dimensions’ and 2005’s bleak masterpiece, ‘Black1’, plays with Greg Anderson and Attila Csihar in Burial Chamber Trio, and released the ‘Grave Temple’ album with Stephen O’Malley. Ambarchi also co-curates the essential ‘What Is Music’, Australia’s most important festival of experimental music.

Wed May 20th
Oren Ambarchi solo
+ Our Love will Destroy the World
+ Sign of the Hag
9 pm @ The Hole in the Wall
154 Vivian St
Wellington
New Zealand

Tune in to a poetry reciting hosted by local poet Isle Park, with a voice to reach your soul and the ocean. Presented in English.

Next broadcast on Wellington Access Radio 783AM at 4:30pm on Saturday 25th April 2009.

Isle talks to Renée Liang, a poet, playwright and MC at Poetry Live, a weekly poetry performance event in Auckland. Renee discusses her new play Lantern, on at Bats theatre this month.

The only poetry radio show at capital city.

cost:
Free

featuring:
Renee Liang,Chris Tse and isle park

Downloading:
http://www.accessradio.org.nz/he_kaihua_ki_uta.html

Info:
www.lanternplay.com

Go and see the Bob Wiseman show in your town - open the little flyer and zoom in for dates. (still trying to upload flyer)
He's a legend.
If you don't beleive me, spend a little quality youtube time watching Bob do weird things to music and film.
Go to www.bobwiseman.com for more.
Contact me (black beaver) for details.

(flyer won't upload now - here are the dates):
Friday April 10th: WHANGAREI - Quarry Arts Centre
(workshop 1pm-5pm/performance @8pm)
Saturday April 11th: AUCKLAND - The Wine Cellar
(Borderline Festival - showcase/promo @9pm)
Tuesday April 14th: AUCKLAND - The Wine Cellar
(workshop and performance 7pm)
Friday April 17th: WELLINGTON - Happy ( show @ 9pm )
Tuesday April 21st: CHRISTCHURCH - Wunderbar (show @ 9pm)
Wednesday April 22nd: GREYMOUTH - Frank's (show @ 8pm)
Thursday April 23rd: NELSON - Mussel Inn
(with the Live Poets - show @ 9pm)
Saturday April 25th : DUNEDIN - Chicks Hotel (show @ 9pm)

Saturday afternoon chillout! 4PM isn't a typo.

Tune in to a poetry reciting hosted by local poet Isle Park, with a voice to reach your soul and the ocean. Presented in English.

Next broadcast on Wellington Access Radio 783AM at 4:30pm on Saturday 28th March.

The only poetry radio show at capital city.

cost:
Free

featuring:
isle park

dates:
Sat 28 Feb 09, 4:30pm

venue:
Welington Access Radio 783AM, Tune in to 783AM, Wellington

region:
Wellington, New Zealand

bio:
isle Park,
a wild soul child from Waikato river.
Park is a poet, singer, songwriter as well as radio programme maker.
He Kaihua Ki Uta is Parks poetry radio show at Wellington Access Radio.
Park published own debut poetry collection, Daxiang（大象） in Main-land China & Taiwan,
this post-punk poetry album accidentally gained a great success with Chinese & Taiwanese readers as Park's name known by them as 'The Riverbed'河川敷.

Downloading:
http://www.accessradio.org.nz/he_kaihua_ki_uta.html

The Borderline Ballroom are pleased to present a rare performance by Wellington-based, Outsider punk 3-piece mr sterile Assembly at the Wunderbar, Lyttelton, Friday March 20th. Doors open 9pm, entry is $5. Support is to be provided by local Christchurch experimental music duo As At.

The mr sterile Assembly formed around 2002 in Wellington, Aotearoa/New Zealand. Orbiting around the solo song writing of mr sterile (aka Kieran Monaghan), the Assembly has manifested in various forms, from solo show to 7 piece ensemble, presenting an anarchic blend of politics and humour, often with a theatrical bent. The current line up of two basses, drums and vocals deconstructs the glib drum and bass handle and pushes that sonic space to its limit.

Staunch advocates of the DIY ethic, the mr sterile Assembly has toured and played extensively within NZ and abroad. The 2005 Eastern Europe tour saw mr sterile Assembly spend time as artist-in-residence at CESTA, Czech Republic, followed by touring dates in neighbouring Poland and Slovakia. In 2006, the Assembly spent a month performing in Malaysia, Java and Singapore. 2008 witnessed the group’s first exploration of Australia, playing in three major cities.

The label skirted Records, established by members of mr sterile Assembly, released the Assembly album Hulagu in late 2004. The band also collaborated with video artist Mike Heynes who created a video for the title track of the CD - this is also included on the disc. A tour only CD, titled 15 Minute Crib (7 songs - download for free from www.skirted.net), was released for the 2006 South East Asian tour. In 2008, whyt, a limited edition book with CD, was released in conjunction with a performance of the same name at the Dunedin Fringe Festival. In 2009, new recordings are underway under the title Bug my Ride – the title track reflecting on the October 15 terrorism arrests and the use of surveillance in that operation.

As At, established in 2007, feature the talents of Rory Dalley and Shannon O’Brien, both of whom are active in a range of other Christchurch and New Zealand-based arts collaborations and initiatives. Sounding out dynamics within manipulations of vocals, percussion and cassettecetera, they characterize themselves as ‘two young histories of solo and group sound activity colliding in a cavalcade of glee.’

GROUPER is Portland’s Liz Harris, whose 2008 opus Dragging a Dead Deer up a Hill bloomed as one of the defining albums of the year, appearing on a blogging generation’s collective top-ten list, mesmerizing many with its gossamer murmurs and dulcet vapours, appearing siren-like in its eerie yet uplifting mix of a shoe-gaze palette with indelible choral palimpsests and undulating modal drones that seemed both extraterrestrial and utterly homely in their foggy grace. The album chimed well alongside the work of Type label-peers Tarentel, Peter Broderick and Machinefabriek but strayed with its frugal, yet equally fugal and hypnotic sensibility, a glowing artifact of both sonic abstraction and pure pop gemology. It arose amidst a growing fascination for earlier groups such as Slowdive and My Bloody Valentine, yet departed as a unique document of a different sort of wistful solace and unrivalled hymnal contemplation.

What label Students of Decay calls Harris’s ‘spectral vocal transmissions’ are the fuzzy product of a pared-down ethic that seems depthless upon listening. While superficially the result of a meditative solitude, Grouper is really a stirring reflection upon her collaborative work with like-minded artists such as Yellow Pete Swanson, Tom Carter (Charalambides), Inca Ore and others like Ben Chasny (6 organs of Admittance, Comets on Fire), Rob Fisk (Deerhoof) and Glen Donaldson (Jeweled Antler), who she joins in Badgerlore, and sound sculptor Jorge Behringer, as Flash Lights.

PUMICE is New Zealand’s Stefan Neville, whose beautifully rambunctious panoply of #8-wire gadget entropy and anthemic melancholy is best rounded up by Minneapolis label Soft Abuse: ‘Island living affords absolute polarities in both geography and the psyche - tranquility & isolation. This duality is present in the music of Pumice - the eccentric, flummoxing and oft-gloomy one-man band helmed by Stefan Geoffrey Neville, a resident of the cultural hamlet of Auckland, New Zealand. Though Pumice’s skewed take on experimental folk and pop songwriting is firmly rooted in the outsider vibes of downunder stalwarts like Pip Proud and Alastair Galbraith, the fruits of his labor are singular in scope as Neville weaves his own personal mythology mired with comedy, melancholy, humility and tragedy and delivered with vivid clarity. Pumice’s pesky brand of loner Kiwi DIY - precariously devoid of fatuous pose - is a colorful, desolate soundworld unto itself’.

ROY MONTGOMERY’s discography and performance history is devoid of conceit yet stretches with utter prolificacy from Flying Nun – with the Pin Group – to Flying Saucer Attack, who he collaborated with in 1997 for label VHF (Astral Social Club, Sunroof!, Vibracathedral Orchestra, Richard Youngs), as well as projects with seminal psyche-ruckus act Bardo Pond and Dunedin band Dadamah, which also included Kim Pieters and Peter Stapleton of Eye, Terminals and Flies Inside the Sun fame. As labels Siltbreeze and Kranky enjoy a sort of renaissance, artists such as Montgomery can themselves revel in a renewed sort of limelight, but it’s a kind of light that they’ll always elude, instead operating in a realm that’s brilliant in a totally different manner. It’s thus a rare and special occasion that provides an audience the opportunity to witness what The Wire’s Edwin Pouncey has described as a ‘fabled New Zealand guitarist’, a musical cousin to The Velvet Underground, Television and Wire and a general sorcerer of some of the most other-worldly yet agrarian sonic experiments and exports this country has ever paid witness to.

Check out http://lof09.blogspot.com/ for more info, updates etc.

If you use facebook! http://www.facebook.com/group.php?gid=56789631889#/group.php?gid=4502472...

MARCH 26th/ 27th/ and two shows on the 28th!

CHICKS HOTEL, Port Chalmers, Dunedin.

All shows $8 with a radio one card and $10 without, a $30 weekend pass will be available on the first night.

The Line up:

Thursday the 26th - 8pm

Tillakaratne (Dunedin)
Mela (Christchurch)
Tim Coster (Auckland)
White Saucer (Auckland)

++++++++++++++++++

Friday the 27th - 8pm

Peter Wright (Christchurch)
Crude (Dunedin)
Eye (Dunedin)
Xe (Auckland - (Rachel Shearer, Guy Treadgold, Sean O'Reilly, Dean Roberts))

++++++++++++++++++

Saturday the 28th - 2pm!!!

Rotor Plus (Dunedin)
Sandoz Lab Technicians (Dunedin/ Wellington)

++++++++++++++++++

Saturday the 28th - 8pm

Adam Willetts (Christchurch)
Adrian Hall (Dunedin)
Stanier Black-Five (Christchurch)
Dead C (Dunedin/Christchurch)

Wellington-based, indie-folk ensemble, Rosy Tin Teacaddy, are proud to announce a cure for homesickness in the release of their new album, The Homeward Stretch.

Following their 2007 debut ‘Blind Leading the Blind’, The Homeward Stretch is a collection of loosely interwoven vignettes featuring temptresses and miscreants. Some are flights of fancy, dedications to loss, or rants from the confessional booth. Others are memories glimpsed through rose-tinted glasses - or an empty bottle of absinthe. There is the occasional cannibalistic dinner and inappropriate suggestion.

Songbirds Billy Earl (aka Andy Hummel of The Woolshed Sessions) and Betty Grey (Holly Jane Ewens) sing their sea shanties to the light at the end of the tunnel, with knowing smiles, desperate prayers and always a yearning for home.

In recording The Homeward Stretch the group aimed to capture a sound indicative of their live shows. This was achieved during five days of revelry at Lee Prebble’s studio, The Surgery. The result is a dynamic album enriched by cello, violin, spatial electric guitar, chug-along bass and lush vocal harmonies.

A sing-along distraction from crisis, Rosy Tin Teacaddy’s The Homeward Stretch is an invitation to the card table, two fingers of whiskey and endless cups of tea.

Tenniscoats is the playful moniker of Saya and Ueno Takashi, a maniacally cute combustion of telepathic Japanese minds that have captured the attention of a swelling audience attuned to and usually pretty smitten with the subtle ecstasy of their supra-pop chimes, muted skeletal breakbeats, joyfully wistful and whispered vocals, whirring brassy parabolas and lapping aquatic twinkles that cloud around vignette-like song forms like soft expressways which go straight to listeners’ sticky hearts.

Of their 2007 release Totemo Aimasho, The Wire wrote, 'their most impressive statement so far, a convincing and beguiling melange of whispy folk, hazy psychedelia and murmuring electronics among which deft melodies blossom almost unnoticed'.

Fans and no-fans of Lullatone, Deerhoof, Maher Shalal Hash Baz, Sawako, Tujiko Noriko, Tape, and labels Room40, Häpna, Happy, and 12k will feel a warm, synaptic affinity for the Tenniscoats potion - and not merely because they’ve worked alongside these various acts in their brief but hyperactive existence. Their chamber parade tunes have tentacles in intricate ABC suites, folktronica anthems and simmering minimal opuses alike, forming a deceptively simple roster of eclectic textures and eclipsed tunes that entertain and puzzle in unequal measures.

Tenniscoats will be joined in Christchurch by Auckland audio embroiderer Tim Coster, who conducts lambent polyrhythms through hushed waves of resonant, ecological hiss. He is founder of hepster-stalwart label CLaudia and has appeared on labels such as Ruralfaune and Seedy R, in ensembles such as Auckland supergroup Plains with Richard Francis and Rosy Parlane, Dirtroom with Alex Mackinnon, and alongside players as divergent as Birchville Cat Motel, Sam Hamilton, Anthony Guerra and Adam Willetts. He also curated the 2006 HSP compilation “Compact Listen”, a vibrant and acclaimed survey of experimental music from around New Zealand.

Melbourne musician Seth Rees is a member of Amplifier Machine, who, after their debut on Brooklyn’s 12k label, gathered favorable comparisons to Pan American and their own compatriots Seaworthy. Rees’ solo project is influenced by what he calls ‘the Sounds of everyday life, merging and fading in and out’ and has a wayfaring, spectral design: detached jangly strings in concrete, yet Eden-like spaces underscore ethereal ruminations that appear as vaulted pulses and chimerical purrs: more captivation!

A collaborative musical performance, featuring composers and improvisers from Buenos Aires and Wellington:
Phil Brownlee, Tristan Carter, Marc Chesterman, Simon Eastwood, Matias Giuliani, Hermione Johnson, Dylan Lardelli.
Acoustic and electric instruments, live and prerecorded electronics, planned structures and spontaneous digressions.

When describing the music and famed live performances of Baltimore's DAN DEACON, it's easy to slip into a juvenile and excited '90s lexicon; RAD! KOOL! SUPER! FUN! seemingly emanate from his glitch-laden, HI-NRG brand of pop. This is not to say Deacon's music is childish, but rather that his unique set-up, shows, and aesthetic conjure up the best and most vivid childhood associations like Saturday morning cartoons, pizza parties, Woody Woodpecker, blowing the dust out of yr N64 cartridges and fluorescent cereals. Perhaps this is why Deacon was handpicked for a US tour with fellow party-starter GIRL TALK; his performances are similarly free of pretension and appeal on a totally base, almost instinctual level. Rejecting the stage and occupying a space within the crowd, Deacon arranges his haphazard collection of tricked-out electronics, kitsch toys and keyboards before launching into a frenzied set of weirdo pop jams. At times Deacon adopts the role of conductor, often handing out lyric sheets, initiating dance-offs and whole-crowd theatrics in a further attempt to break down the crowd/performer barrier and encourage inter-audience connectivity.

Hailing from the ridiculously fertile streets of Brooklyn, NYC, Mary Pearson and Rob Barber formed HIGH PLACES in 2006 and have established themselves as both a local and international favourite through extensive touring (with YACHT, No Age, Abe Vigoda, Lucky Dragons, to name a few), and a smattering of small releases before being signed to Thrill Jockey records (Tortoise, The Boredoms, Fiery Furnaces) in mid-2008. Thrill Jockey allowed the physical release of 03/07-09/07 an excellent compilation of the duo's early material where Pearson's dreamy vocals weave seamlessly with the ebbs and flows of Barber's clamorous mix of exotic samples and reverb-drenched polyrhythms. Their eagerly awaited debut full-length further showcased the pair's skill in combining undeniable melodies and layers of off-kilter rhythms, but this time around with the occassional addition of bassy punctuated synths, enhancing the innate danceability within their dense soundscape. High Places embrace a series of polarities; organic/electronic, clean/cluttered, pop/experimental and their sound is a fully realised synthesis of these. It's not often pop music sounds as inviting and interesting as this.

Christchurch artists featured on the Dirt Beneath the Daydreamm CD celebrate its release. This includes a collaboration between local legends Bruce Russell and Greg Malcolm; Richard Neave, Adam Willetts and LA Lakes performing as Grunge Genesis; and solo work from Stanier Black-Five.

Copies of the White Fungus issue featuring the CD will be on sale at the event, that starts at 8pm.

Newcall celebrates the opening of Broken Fall, an exhibition held in two locations, Newcall Gallery and St Paul St Gallery2 with thanks to EPIC Beer
LOU HUBBARD, SUSAN JACOBS & KATIE LEE (Melbourne)
Opens at Newcall Gallery 6pm, Tuesday 10 February

PERFORMANCE BY TIM COSTER(Auckland)
at Newcall Gallery 9pm, Tuesday 10 February

PERFORMANCE BY RICHARD FRANCIS(Auckland)
at St Paul St Gallery Friday13th of February St Paul St Gallery 2 6pm

Broken Fall is part of a collaborative project between Newcall Gallery, A Center for Art (St Paul's Street, Auckland), Jan Bryant and three Melbourne artists: Katie Lee, Susan Jacobs and Lou Hubbard. The artists are investigating ideas of disruption, firstly of work moved across cities — Melbourne to Auckland, Auckland to Melbourne— and then within cities across different spaces that hold divergent sensibilities. This project aims to generate discussion between contributing artists about the effect on the work (both internal and external) of intimate spatial displacements.

A Center for Art and Newcall Gallery have asked Auckland-based sounds artists, Tim Coster and Richard Francis, to respond to the work.

For a short time A Center for Art will inhabit the premises of St Paul Street Gallery 2 as a ready-made project space. This will be the second of ACFA's three sites, the first of which closed December 2008, with the third to be opened in March 2009.

From the promoter: "A night of audio manipulations, crafted digital ambiance, and sympathetic musicianship."

About Undrawing: Auckland-based experimental trio.

Band members:
Nicholas Rogan - rhodes, vocals, gadgets
Colin Hunter - bass, gagdets
Alistair Deverick - drums, gadgets

About Nigel Wright: Auckland-based soundscape artist performing since the late 90s. Uses a laptop to process guitar and tape loop source sounds, creating dense, tonal drones. Has played alt.music Festival (Auckland), Liquid Architecture (Brisbane, Sydney), Auckland International Film Festival.

GROUPER (Portland) - PUMICE (AK) - CJA (DUN)
Chicks Hotel
Port Chalmers
Dunedin

21st March
9pm

$10.00 or $8 with a 2009 Radio One card.

Grouper (Portland) is the project of Liz Harris. In a short space of time, Grouper has become the name on the lips of the underground music world having captured hearts worldwide with her distinct blend of noise, ambience and a dream-pop sensibility. She submerges her songs in a shimmering haze of hiss, looping chorals and decomposed guitar feedback, but somewhere in there you can hear the ghosts of My Bloody Valentine or possibly Slowdive.

Grouper’s music makes you think about time; how her freeform drones seem to transcend it and how her digital aging processing inevitably links to it. With the future uncertain and the present almost inevitably forgotten as soon as it happens, Grouper maintains that special though not unique hauntology that grants her a spectral connection to the past as chanting ghosts bemoan tomorrow’s solace today.

These unforgettable harmonies and vocal lines that embed themselves into your consciousness before you even realize it are the key to the Grouper’s success and the reason why she makes such a lasting impression. There is something to Liz Harris’ music that defies time and makes you sit up and listen.

http://www.youtube.com/watch?v=gkANP6xnVgs
http://www.myspace.com/grouperrepuorg

Stefan Neville’s Pumice work throughout its ten year plus existence, remains as one of the most relevant and prolific in the New Zealand experimental music scene, and undeniably significant in the psych/outsider/free folk scenario. Although Pumice has always had an undeniable charm in the ways of ramshackle pop and dusted lo-fi noise excursions, his work has shifted into different sonorities and styles from the mid nineties to the present time.

Pumice cruises the convergence of pop, folk and noise strains with bona fide inner mystique. sputtering sub-underground skiffle aims for outer zones, diamond cuts of nervous guitar with pesky hooks that sting and tickle tread rough hewn punk turf, pop tangents charm with echoes of Kilgour or Knox, and woozy synth blurts & drones thread the patchwork patterns with hulk-like grace.

http://www.youtube.com/watch?v=HA3kFEVQLoU&feature=related
http://www.myspace.com/pumarse

CJA/SMOKEHOUSE. born the year of the root, fell on stefan at a party, talked about plagal grind, co started the plop label in hamiltoninjatown, ealry releases included armpit/pumice/crawdads/ideal gus/cybernetic warlords etc...lived in the winterless rodney for a bit, went to art school & concentrated on solo releases (cja) & collabs with witcyst (wictsyt/cja), moved to dunedin & created the rock band the strange girls, joined the futurians, formed wolfskull, collabs (currently have claypipe going with antony milton, jorts with shelterdeath, thorax with dz, pigs of lead with lee noyes, bloodboil with mike palmer), playing live kinda sux, but sometimes fun, cant tune a guitar.

http://www.myspace.com/cjathepirate
http://www.audiofoundation.org.nz/artist/cja-aka-clayton-noone/198

Organised by the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant-garde sound art from around the world to New Zealand.

Altmusic is supported by Creative New Zealand and ASB Trust.

For more details contact:

Alex MacKinnon

alexwmac@gmail.com

0273552832

http://www.audiofoundation.org.nz

http://www.myspace.com/altmusicfestival

www.myspace.com/cjathepirate
www.myspace.com/grouperrepuorg
www.myspace.com/pumarse

yeee we are launching spacething.co.nz on Friday. Come help us give it a good blastov with...
The Windups
Terror of the Deep
BIG-SCREEN PONG + TETRIS!

HSP & OKAY JAMS present

EL GUINCHO (ESP)
with

AS AT and MOUNT PLEASANT

EL GUINCHO is the moniker of Spanish musician Pablo Díaz-Reixa, whose sample-based, percussive, tropical-beach-pop has been exciting clubs of sweaty revellers and discerning music critics worldwide.

Debut album Alegranza! garnered comparisons to Brazilian-psych legends Os Mutantes, Panda Bear, Ariel Pink and New Zealand's own Ruby Suns due to its clever pastiche of "afro-beat percussion, calypso harmonies, psych tropicália, world music samplers, doo wop, trance repetition, underwater pop, steel drums and island feeling plus club oriented song structures, uptempo beats and exotica production" (Mistletone Records)

On his first ever visit to New Zealand EL GUINCHO will be joined by percussionist Aleix Clavera who promises to double the infectious intensity of Diaz-Reixa's exotic party.

AS AT. vocalism, precussion, cassettette, procesession.
AS AT. ASmAThic Psychedahlia. Blooming hellflower, when that first number drops it catches between the digit, flickering, decimal ate it. Someone will be wheezing, dessicated coconut. and decimated, the sound that was once one at once tends to two, as at drawn and caught, fought hard to bring you back to nought.
AS AT. pre-post postism.

cassette sett off off set off the blockad hocker popsokkerokkir nonedropk. yes.

MOUNT PLEASANT is the solo project of Christchurch-based Jonathan Phillips, who, having signed to A Low Hum records has recuited a live ensemble to perform a friendly-fire assault of fuzzy tropical gauze and aquafied beat showers, ripped J&MChain downfall and muzzled Abe-Vigoda prankster howls. Two-part harmony dissolution and anthemic bedroom freak outs slip into an unsuspecting domain, simmering and shimmering accordingly, exponentially.

DON'T MISS OUT!

Auckland - March 12th at Whammy Bar
Wgton - March 14th, venue TBC
Christchurch - March 18th or 19th, venue TBC
Dunedin - March 21st at Chicks Hotel , Port Chalmers

Grouper (Portland) is the project of Liz Harris. In a short space of time, Grouper has become the name on the lips of the underground music world having captured hearts worldwide with her distinct blend of noise, ambience and a dream-pop sensibility. She submerges her songs in a shimmering haze of hiss, looping chorals and decomposed guitar feedback, but somewhere in there you can hear the ghosts of My Bloody Valentine or possibly Slowdive.
Grouper’s music makes you think about time; how her freeform drones seem to transcend it and how her digital aging processing inevitably links to it. With the future uncertain and the present almost inevitably forgotten as soon as it happens, Grouper maintains that special though not unique hauntology that grants her a spectral connection to the past as chanting ghosts bemoan tomorrow’s solace today.
These unforgettable harmonies and vocal lines that embed themselves into your consciousness before you even realize it are the key to the Grouper’s success and the reason why she makes such a lasting impression. There is something to Liz Harris’ music that defies time and makes you sit up and listen.

http://www.myspace.com/grouperrepuorg

Stefan Neville’s Pumice work throughout its ten year plus existence, remains as one of the most relevant and prolific in the New Zealand experimental music scene, and undeniably significant in the psych/outsider/free folk scenario. Although Pumice has always had charm in the ways of ramshackle pop and dusted lo-fi noise excursions, his work has shifted into different sonorities and styles from the mid nineties to the present time.
Pumice cruises the convergence of pop, folk and noise strains with bona fide inner mystique. sputtering sub-underground skiffle aims for outer zones, diamond cuts of nervous guitar with pesky hooks that sting and tickle tread rough hewn punk turf, pop tangents, and woozy synth blurts & drones thread the patchwork patterns with hulk-like grace.

http://www.myspace.com/pumarse

Dates:

Christchurch - 25th Feb (Venue TBC)

Wellington - 27th Feb at Mighty Mighty (TBC)

Auckland - 4th March at Cassette 9 with Disasteradio and Mr HayDay

Gudrun currently runs the Berlin-based Monika Enterprise Label, was an early member of Einstürzende Neubauten and most famously founded the 1980s band Malaria!
Gut became practically a thread unto herself in Berlin's underground art and music scenes. She explored cross-sections of new wave, techno, spoken word, multimedia art, and experimental rock in bands like Mania D, Matador, and Project Miasma. There have been film scores, radio plays, videos projects, gallery exhibitions, remixes, a record label, DJ gigs, and the eclectic, collective radio show "The Ocean Club".
Featured in prestigious UK magazine ‘The Wire’ recently:
“This is a story about a’ geniale dilettante’; a punk and a No Waver and an early adopter of computer pop; a girl from German heatherlands who moved to Berlin to become one of the city’s central figures – feminist agitator, festival organizer, entrepreneur. Plus of course musician, performance artist, DJ, radio presenter, club organizer, cultural ambassador and label owner. She has done all of this largely by maintaining her independence. Not in the rejectionist strain that characterizes knee-jerk American individualism, but rather by creating and attending to niches and spaces of possibility in the interstices and the margins.”

Tokyo's Tenniscoats centre around the duo of Saya and Taskashi Ueno, a married couple who have been making music since 2000, and together run the highly regarded Japanese label Majikick Records.Tenniscoats manage to reign in the sounds of the avant-garde and knit them into accessible and wonderfully listenable vignettes in which you find yourself going back to again and again. Their starting point is pop songs, but with a staggeringly free approach: psychedelic folk tunes, complex instrumentals and short pop jewels side by side, everything is possible. A song can be performed in a myriad ways.
Tenniscoats have become one of the hippest bands on the underground scene, though their vast legion of worldwide fans probably indicates that 'underground' is no longer applicable. Such renown is helped, of course, by an ability to produce the kind of music that grabs your attention whatever you're doing.
Actually, 'band' is something of a misnomer for Tenniscoats. In essence, they are a duo; guitarist Takashi Ueno works with Saya on all Tenniscoats recordings and performances. They collaborate freely and regularly with an eclectic group of accomplices, seemingly incapable of not making music.
http://www.myspace.com/tenniscoats

Rachel Shearer has released a series of projects and performed live under the moniker Lovely Midget since 1997 with a 10” vinyl release on US label ‘Ecstatic Peace’, a CD on NZ label Corpus Hermeticum in 2000,a 2003 CD release with US label Family Vineyard.
Earlier experience harks back to the late 80’s/early 90’s with releases on NZ cassette label ‘Xpressway’ as part of the group Angelhead, Flying Nun and Siltbreeze releases with all girl avant-goth-rock group Queen Meanie Puss.
Rachel combines her musical experimentations with a variety of sound practices - creating public sound installations, composing music for film, involvement as an experimental composer and performer in live events exploring the relationship between audio and the projected image, freelancing as a sound designer/sound editor for feature films, documentaries and television drama.

http://family-vineyard.com/catalog/fv40.php

What's been described as "a trumpet player trapped in a two dimensional universe" is in fact the unique audio work of Justice Yeldham, a maverick musician with an unhealthy obsession with sheets of broken glass. By pressing his face and lips against the glass whist employing various vocal techniques ranging from throat singing to raspberries, he turns disguarded household windows into crude musical instruments. Resulting in a wide variety of cacophonous noises that are strangely controlled and oddly musical.

Justice Yeldham is the latest alter-ego of Australian sound performer Lucas Abela, whose past sonic experiments were conducted under monikers like A Kombi, Dj Smallcock & Peeled Hearts Paste. Initially classed as an experimental turntablist, although his early work rarely resembled anything in the field. Early feats, saw him stab vinyl with Kruger style stylus gloves, bound on electro acoustic trampolines, drag race the popemobile across Sydney Harbour Bridge, perform deaf defying duet duels with amplified samurai swords, hospitalised by high powered turntables constructed from sewing machine motors, record chance John Peel sessions with the Flaming Lips, & be Otomo Yoshihides' favourite entry into his Ground Zero remix competition; 'Consummation' even though instead of sampling the CD he destroyed it using amplified skewers!

He also founded and runs dualpLOVER (recording label, cd/dvd replicators, distributor and promoter of gigs and tours). Principally a live audio artist he’s been performing professionally for the past 14 years, ever since Oren Ambarchi and Robbie Avenaim stumbled across his late night radio performances in 1994 and asked him to play their 2nd What is Music? Festival. Since he's toured the world extensively, performing in well over 30 countries.

http://www.dualplover.com/justice.htm

Marcel Bear and the instruments he creates are collectively known as Empirical. Best known of these are the Shimsaws: 6 instruments of stretched bands of steel and piano wire with pickups that are amplified and played by bowing, rocking, tapping and generally trying to keep them under control. An exciting development of this was the formation of the Empirical Shimsaw Orchestra, where all six instruments were played together. Currently, Empirical are turning screws and tapping threads to reconfigure ye olde tape loop machine into a moving head design, al la Echoplex (where sounds are repeated with a minute difference in timing, down to the phase level). The resulting sound morphs into something evocative of another world.

http://www.audiofoundation.org.nz/artist/empirical/130

Un/Equal parts polymath, autodidact, inventor, scene-mongrelizing underground cult anti-hero and true Maverick of modern North American music, Eugene Chadbourne strikes Christchurch [and the rest of the COUNTRY!] with his eclectically singular and incendiary brand of electrified be-bop hillbilly improv.

While sharing a not-too-dissimilar profile to that of now-popular compatriot Daniel Johnston, Chadbourne has infiltrated contemporary rock music more as a true polemicist than a mere eccentric, a familiar icon of momentous experimentation, particularly in the New York ‘loft scene’ of the 1970s and beyond, where he has appeared alongside luminaries such as John Zorn, Bob Ostertag, Marc Ribot, Fred Frith, Steve Beresford, Henry Kaiser and Cellist Tom Corra.

With well-known producer and grunge guru Mark Kramer, Chadbourne later founded Shockabilly, who, after releases on Rough Trade and New York’s Knitting Factory, were deemed the East Coast reply to The Residents.

Chadbourne has also appeared alongside Elliot Sharp, Violent Femmes and Sun City Girls on a CD called Jesse Helms Busted for Pornography, which shows where his humorous political targets lie. A top official in Ronald Reagan’s administration once referred to Chadbourne as ‘the biggest threat to the American way of life’ and his G.O.I.N. (Get Out of Iraq Now) Band has eloquently and satirically told the more recent administration where to go.

Chadbourne comes to Christchurch with his own magick invention: The Electric Rake, a gardening utensil mined with electrical pickups that makes the sound of a punk horticulturalist tending to equally belligerent blades of wild and coruscating metal grass.

Mixed up with his raconteur wizardry, it will be a persuasive combustion. As Pumice put it recently, Chadbourne issues forth scrambled LSD & whiskey country & western, free range plink plonk Ayler tunes on the banjo that went on uncomfortably long, fierce rake racket. He’s totally fearless, reckless, and squirmy. I’ll be there.

Other National Dates!!!

JANUARY 22 - 30, 2009

Jan 22 - Wellington - Happy, with Sign of the Hag, Manimanima and Basketcase

Jan 23 - Wellington - Happy, with the Bad Blues Band and others

Jan 25 - Dunedin, Chicks Hotel Port Chalmers, with Greg Malcolm

Jan 29 - Auckland - the Whammy Bar

Jan 30 - Auckland - the Wine Cellar

Discerning deserters, where do we find oursleves mid way through this desultory sylvan life?

Slowdiving combustion or mere sanguine inauguration, this coming Tuesday's Marsupial Gallery opening will feature the vitriolic virtuosities of the unholy trinity of the 03 UNDERGROUND - jesus Christ, it's all really just surface round here - ADAM WILLETTS/LA LAKERS/RICHARD NEAVE as GRUNGE GENESIS + the unconfirmed phantom presence of either A-Sides for Betaville or iRory on the levitating mezzanine decks of acousmatic and radiophonic PURGATORY.

Genuflect, bitches.

MARSUPIAL GALLERY.
177 High Street, Christchurch.
marsupialgallery@gmail.com
marsupial.tumblr.com
027 7130011

Hell, come up anytime, there's the most fresh Silt-breeze floating round here, plus works on the walls and windows by Dan du Bern, Kit Lawrence, Miranda Parkes, Suzie Pratt, Gonzales-Torres, and zines by Sumi Ink Club, Ken Kagami and John Dory. Lice.

Like nothing you have heard before - the thunderous resonance of Ginger Brown is destined for Auckland’s Whammy Bar early January 2009.

The psychedelic three piece from Wellington city is an amalgamation of furious drums, throbbing Rhodes bass, wild Hammond organ, vivacious vocals and soaring guitar, igniting a swirl of 50's-60's psychedelia and modern rock with undertones of Cabaret and carnival.

Their recent debut album ‘Who Scared Who’ had one reviewer nominate Ginger Brown as a contender for New Zealand’s most innovative album.

FRIDAY THE 12th of DECEMBER @ CHICKS HOTEL IN PORT CHALMERS OF DUNEDIN
9PM - $5.

DIRTROOM (dun)
ADAM WILLETTS (chch)
EYE (dun)
RADIO CEGESTE (chch)
A SIDES FOR BETAVILLE (chch)

DIRTROOM
this is Dirt Room's final gig for an uncertain but finite period!!! We will be performing with an imported and special friend Tim Coster from Auckland (http://www.audiofoundation.org.nz/artist/tim-coster/73). DONT, Don't mind the slightly grandiose sound of this Dirt Room filler from http://www.audiofoundation.org.nz/artist/dirt-room/337!:
"Dirt Room is a band of people, all artists, all residents of the None Gallery in Dunedin, who have been playing together for the past 2 years around New Zealand. Formerly as free-noise group Khomet.
Always leaving an audience speechless and content, or in hysterical surprise of the complete maximalism of the sound-image deluge so violently given to them with absolute loving urgency. Dirt Room is a free deconstruction of black metal and all things heavy; rock music describing a blind space, a condensation of time and an expansion of tone. Their use of classic rock music instrumentation is questioned and augmented by a constantly changing line of home made electronics, radio and phonographic equipment, and house hold items. All summed to form an utter black confusion with the unrelenting vehement beats of the drums providing the only light. Dirt Room is seemingly always capable of inspiring ecstatic dancing, total attention, or astonished thank-you's from the un-initiated chance spectator.

EYE
are an important band.
again, from http://www.audiofoundation.org.nz/artist/eye/199:
Eye were formed in 2003, consisting of Peter Stapleton (drums, tape loops, short wave radio), Peter Porteous (guitar, Tibetan bowl) and Nathan Thompson (guitar, laptop). In 2005 Nathan went to Sydney and Ryan Cockburn (turntablist) joined the band. Two years later Ryan left for Melbourne, Nathan returned and the original lineup is what we have now.

The music is improvised, with intense dynamics... very quiet, very loud, often performed to film. The Black Ice CD was voted number 3 on Thurston Moore and Byron Coley's Bull Tongue best things of 2005.

ADAM WILLETTS
From Christchurch....
AGAIN from http://www.audiofoundation.org.nz/artist/adam-willetts/243:
Tearing up the ether and playing with the wreckage, Adam Willetts employs a variety of radio devices along with a homemade analog synth, creating a tactile and physical approach to electronic improvisation that incorporates the wireless space and electrosmog produced by these instruments into both their control and audible output.

Through his use of DIY electronics and radio, and unconventional and subversive uses of computers and game controllers, Adam has established a reputation for dynamic and surprising live performances that carefully balance elements of fragile beauty with violent eruptions of static, electromagnetic interference and feedback.

Adam lives in Christchurch and is also known for his work as a visual artist. He has been performing and exhibiting throughout New Zealand and internationally since the late 1990s featuring at numerous festivals including TransAcoustic, 2005, Lines of Flight, 2006 and S3D, 2007.

AND OUR DJs for the night!!! who DEFY what it means to be a "DJ" in this fucked up climate:

RADIO CEGESTE (chch+transience)
Debut live performance!

A SIDES FOR BETAVILLE (chch)

thanks to the BORDERLINE BALLROOM for this borrowed A'side synopsis!:
a radio show hosted by Peter Kirk every Sunday on Volcano Radio 88.5FM from 10pm - 12am, A'sides is radio in the classic tradition of late night experimental collage soundscape, a maverick creative broadcast practice begun on US college radio in the late 1970s, with precursors in earlier music/audio/collage works and sound experiments, whose prior local manifestations include Rotate Your State (RDU, 1991-2003), as well as various programs on the original Radio Lyttelton.

A'sides rides the drift of the late night dial toward a poetics of the medium, becoming a framework through which to listen in to listening, playing with radio as-playback, making audible the sound of broadcast and its sonic storage media. In its collaged craftings, found-cultural detritus jams with precious artifacts of high culture, the mp3 speaks to the tape loop and the gramophone, hand-manipulated op shop records of Russian folk songs and sea shanties (the record as readymade... the medium as the massage) bump tactilities and temporalities with recordings of historic avant-gardists speaking on the creative process, and live streaming of internet radio art projects.

ALSO IN THIS BURST OF SOUTHERN EXPERIMENTALISM AND FESTIVITY IN THE SAME WEEKEND:

ADRIAN HALL
'Lines Drawings 1971'
With Live Cinema Opening.
None Gallery, 24 Stafford street, Dunedin.
11th december, 6pm opening.
Open day time of 12th.

THE AUTO-HARPIES
THE AESTHETICS
VOO DOO GANGSTER
Live at None Gallery.
saturday the 13th December.
9.30pm

undrawing is gonna play at the wine cellar on tuesday the 16th. All original, free, improvized welding together or acoustic and digital instruments. No door charge, just a hat.

kRkRkRk Recordings, in association with the Borderline Ballroom, presents Point That Thing – an evening of omnidirectional music

The Programme

Point That Thing is a collaboration between sound artists and musicians, bands and DJs associated with local independent collectives kRkRkRk Recordings and the Borderline Ballroom. The evening will progress in a series of movements, exploring various directions and possibilities enabled by combining different musical forms and performance strategies.

The event will begin with a 30min set of discrete ‘songs’ performed by local experimental rock group zerO (David Khan, Mikel Goodwin and Rustle Covini), also featuring a special guest appearance by Justine O’Gahdra-Sharp. Towards the end of their performance, zerO will be augmented by the addition of Peter Wright (recently returned from a 5 year stint in London) for a largely improvised further 30min segment as Not The Beautiful Losers. This misnomer refers to the short-lived, but fruitful, project on which Peter, David and Rustle collaborated 2002-03.

Indeed, the zerO and Not The Beautiful Losers segments reveal what a truly incestuous operation kRkRkRk has been since its inception in 1991. Various permutations of the above five performers have collaborated in various art bands over the years – these including the notorious industrial rock group leonard Nimoy (1994-97), performance art, improv projects Flinch (1997-98) and DiS (1998-2000), and the Gen X, electro-pop band MiG-21 (2001-03).

The culminating phase of the evening comprises Friendly Fire, a simultaneous multi-DJ collaboration/duel featuring various talents, including Stanier Black-Five (Jo Stanier) and I-Rory (Rory Dalley), both of whom have been active participants in the Borderline Ballroom series of art/sound/music events in the two years since the collective began operations. A feature of Friendly Fire (Jo’s contribution, at least) is that it will utilize samples recorded in the performance space during the earlier presentations, and thus reflect, extend and transform what has happened previously.

A Manifesto for Omnidirectional Music

In the current age, the idea that art and music proceed along a linear, pre-ordained trajectory towards an ultimate style or form has been largely discredited. With the demise of Modernism, visual appreciation no longer seems to require allegiance to one pole of a binary structure like figuration/abstraction or figure/ground. Nor, in a similar fashion, does it seem necessary to approach music in terms of an either/or privileging of the seeming-incommensurables structure and improvisation, acoustic and electronic, noise and melody, the ‘live’ band versus the DJ.

However much the demagogues of popular culture may enjoy drawing distinctions between the supposedly new and original performance of a band seen live, as opposed to the ostensibly predetermined re-hashing of a DJ playing records, the closer one inspects either activity, the less different they appear. A dedicated band will often have practised and prepared a repertoire of material, not to mention certain performance strategies, to the point of exhaustion. The committed DJ frequently will be seeking to re-present and re-shape the material at hand so that familiar ground can be experienced afresh.

Evidently, a pre-existing structure enables possibilities for improvisation. Conversely, the structure is already a product of free-play – its form continually beset and modified by creative forces. So, structure and improvisation, acoustic and electronic, noise and melody, the band and the DJ might be regarded as reciprocating co-existences that, simultaneously, emerge from and redefine a common space of styles, forms and creativity. Point That Thing, therefore, is not an apology for relativism – the insidious negation of difference and the vanishing of the distinct individual into the homogenized, corporate whole. Rather, it is an affirmation of pluralism and the necessity, perhaps now more than ever, of shrugging off creative preconceptions and paralyses, picking directions, making choices.

AIRPORT SOCIETY
(Johnny Chang in flux)
December 4, 8pm
Wine Cellar,
St Kevin's Arcade, K'rd
AUCKLAND
entry $5

Music by Christian Wolff (For, 1, 2 or 3 people") , Michael Pisaro (violin and __ materials) and Johnny Chang as well as selections from George Brecht's "Water Yam" and our own realizations from this Flux kit of events scores.

Performers: John Bell, Jim Gardner, Kevin Keys, Luke Munn, Chris O'Connor and Charlotte Rose.

(Thanks Luke for the flyer design...)

Please distribute this information freely to any and all you feel might be interested !

...............................................................
(b)
(objective) acoustic ecology...ish
SOUND WALKS

two separate hour-long strategically mapped and guided listening walks through central Auckland's acoustic environment and most exceptional public sonic experiences (walking shoes recommended).

starting from
CROSS ST STUDIOS
SATURDAY 6th Dec

DAY WALK -12pm
(Midday)
NIGHT WALK -10pm
(After the concert)

FREE

...............................................................

thanks to:
SOUNZ
The Kroad Business Association
Cheese on Toast

(a)
CONCERT

Shifting City Sound Plains is an umbrella project in where a large collection of Auckland sound artists, musicians, non-musicians and sound recordists have been invited to collaborate together on a field recording project focused on creating, or transforming the current sonic identity and transient acoustic architecture of Auckland city. After a week spent making field recordings within and of our urban sonic surroundings, the participating artists will come together to reorganise these recordings into a new redesigned sonic environment in a surround sound performance situation.
...Its about re-orientating our perception and relationship to our acoustic environment, and creating an platform for engaging with it, and each other on an active level.

+++
special group performance by renowned ingenious
instrument/music inventors:
SAM MORRISON
JAMES McCARTHY
PHIL DADSON
CLINTON PHILIPS

thanks to:
SOUNZ
The Kroad Business Association
Cheese on Toast

thursdaty 30th oct. at 24 stafford st. dunedin. album release!

Tales of the Dead, GHOSTLY MUSIC, Demonic BLOODY PUPPETRY, LIFE defying AERIAL MUSICAL, Gruesome REAL BLOOD Projections, INSTALLATIONS of mind-bending terror, Ghoulish ZOMBIE Dances, DEATH galore! and a living DEAD DOORMAN!

SAT 8th NOV
7pm til 1am

www.thedustpalace.co.nz/fete-macabre

$15 pre-sales from Real Groovy
from The Wine Cellar
or by emailing eve@thedustpalace.co.nz

Performances (music, dance, aerial, angle grinding...) by:
"The Magdalene"-Mary Macgregor-Reid, "Zarabella"-Sarah Houbolt(Brisbane), "Basket Case and Colin McCabre" and "Manimanima! and his Coffin Bearers"-Jeff Henderson(Wellington), Kristian Larsen, 'the incredible hexadecibels', Ben Cragg, Colleen Davis, Dave 'decaying' Hall, Sam Hamilton, Eve Gordon, Debbie Newby, Rohan Evans, The Ten Acre Block Orchestra,

Live sound tracks to;
Nosferatu by Sam Hamilton, and
The Cabinet of Dr. Caligari by MOPPY

Installation and Exhibition by;
Rachel Bell, Pete Heckman, Campbell Farquhar

stories and poetry by;
Renee Liang, Ben Cragg, Miriam Barr, Christian Jensen

a 'How to play the Saw' workshop, short film screenings, roving zombie performance and more!!!

SAVING POP CULTURE:
EXPERIMENTAL GERMAN MUSIC VIDEOS

7 Oct 2008, 7pm @ Galatos, 17 Galatos Street, Newton, Auckland

The Goethe Institute presents SAVING POP CULTURE: EXPERIMENTAL GERMAN MUSIC VIDEOS in association with MIC Toi Rerehiko and the NZ Film Archive. Join MIC Toi Rerehiko and Director Christina von Greve Tuesday 7 October for an outstanding selection of experimental German music videos!

Don’t miss visiting filmmaker Christina von Greve presenting screenings of her own award winning works including stunning sound composition by Von Spar, C-Schulz and acoustic artwork by Barry Bermange.

Please visit www.mic.org.nz for more details.

Saturday

10 – 5
Sound installation
Wellington-based musician Andy Hummel offers a sonic journey through 'Snow Ball Blind Time', playing off Peter Robinson’s sculptural ramblings and the oddities of Govett-Brewster’s architecture.

2.30 pm
Sounding out
Join the Sound Sketch artists as they chat about sound, space and the peculiarities of polystyrene.

6pm
An evening of sound performances
Esteemed local sound artists Phil Dadson, James McCarthy, and Sam Morrison are joined by American Brandon LaBelle to create an evening of sound sketches in response to Peter Robinson’s spectacular sculptural drawing. Working with polystyrene as a material, it’s history within sound art or as a starting point each artist shall present a new scenario for this humble substance. Incorporating unique new instruments and an interactive component, Sound Sketch promises to be an evening of delight, humour, poignancy and wit.

Brandon LaBelle is an artist and writer working with sound and related cultural narratives. His visit to New Zealand was made possible by Massey University, Victoria University of Wellington and the Danish Arts Council.

Sunday

11.30am
Working with sound workshop

Also!
Free Wire Music Workshop with Alastair Galbraith
6pm @ Gus Fisher Lobby.
The Kenneth Myers Centre
74 Shortland St

Alastair Galbraith

Alastair Galbraith is an experimental musician based in Dunedin and is one of the most admired musicians in the 'underground' music scene worldwide.

Recipient of the 2006 Arts Foundation Laureate, he employs amongst his instruments, violin, bagpipes, softly spoken lyrics, organ, and backwards-guitar to create what has been described as "otherworldly" and an "unerringly emotional" sound. Noted American critic Byron Coley has said "his work is filled with beautiful darkness, worthy of classic designation".

His long, consistent career began in the early 1980s, as leader of The Rip, who recorded two EPs for Flying Nun. He later joined other prominent South Island musicians Peter Jefferies, David Mitchell and Robbie Muir to form Plagal Grind, whose self-titled EP is regarded as a masterpiece of extra-academic experimental music.

Alastair’s solo work has gained a growing international reputation and is known as a benchmark of excellence for the independent, idiosyncratic mode it operates in. His works have been heralded in critical journals and documented by recordings on prestigious American labels. In his recent work, alongside solo recordings, Alastair collaborates with Bruce Russell in the improvisational group, A Handful of Dust, and with Matt De Gennaro, with whom he creates distinctive 'wire music', using piano wires in a site-specific installation. This will be demonstrated in a workshop before the event.

In 2006 the prestigious North American label, Table of the Elements, archivers of such twentieth century musical geniuses as Charlie Patton and Tony Conrad, gave Alastair's solo work the status of contemporary classics by reissuing his albums Morse/Gaudylight and Talisman. Alastair’s album of song-based material, the 20-track Orb, was released on his own label Nextbestway, via Global Routes, early in 2008 and received a glowing full-page review in the February edition of icon UK magazine The Wire.
Later in 2008 the New York Label Azul Discographica will release his latest collaboration with Bruce Russell – (under the moniker Handful of Dust) – the album Panegyrics.
Alastair is presently constructing a glass ’armonica’, an instrument invented in 1761 by Benjamin Franklin. He is sourcing his materials locally and has already given several performances on the not quite complete instrument. He is also designing his second “glass tube fire organ”. The first is in the collection of the Sarjeant Gallery, Wanganui.

http://www.myspace.com/alastairgalbraithplagalgrindtherip

*******************************************************
Peter Wright

Over the course of a decade, Wright has etched his name in glass in the annals of drone-world superstardom. Alongside Phil Nilblock, Robert Horton, and Tom Carter, Peter Wright is on top of the drone music world, both in the sheer amount of astounding music he creates, but also the effortlessly way he makes sounds that are completely indecipherable but strangely familiar.
Words like 'atonal' and 'avant-garde' come to mind when contemplating Wright's sound but such terms are misleading when his music remains so accessible despite its experimental character.
Wright first started playing music semi-seriously in Christchurch during 1990, recording un-tutored noise-pop on a four track. Following several song-based solo projects Wright's music started to take a more abstract hue around 1996, finally culminating in a more refined guitar-based drone sound that he has worked with almost continuously since the late 90s.
After several self released CDrs on his Apoplexy label, Wright moved to the UK and had his first 'proper' CD release in 2003 on US label Last Visible Dog, followed by a string of CDs issued on various US and European imprints.
http://www.distantbombs.com

*******************************************************

Organised by the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant-garde sound art from around the world to New Zealand.
Previous Altmusic artists include The Necks, Daniel Menche, Keith Fullerton Whitman, Pauline Oliveros, Voice Crack, Francisco Lopez, Philip Jeck, Oren Ambarchi, Metamkine and the Dead C.

The Audio Foundation and Altmusic is supported by Creative New Zealand, National Institute of Creative Industries, Gus Fisher Gallery and ASB Trust

undrawing will be playing a show at the wine cellar on thurs 16october with a solo performance by guest speaker

the BORDERLINE BALLROOM #17

the BORDERLINE BALLROOM casts out live into the electromagnetic spectrum this month with a focus on experimental radio, broadcast as art, and artists engaging with the technology of radio. Fusing radio broadcast and live performance, the Borderline Ballroom #17 incorporates three live solo performers and the radio programmes Borderline Radio and A'Sides for Betaville, in a live to air collaboration with Lyttelton community broadcast station Volcano Radio 88:5FM, which has been operating in the port town just outside Christchurch since February 2008, and whose transmission area is locally bounded by the crater rim. The Borderline Ballroom #17 will be on-site at the Wunderbar in Lyttelton and simulcast live on the station's airwaves from 8pm.

Sunday 21 September 2008
the Wunderbar, Lyttelton
8:00pm - $5, doorsales only

with:

ADAM WILLETTS (Chch)

Adam Willetts is a musician and artist whose practice shifts casually between hi-tech and handcrafted as he explores relationships and interfaces between people, technology and popular culture. His use of DIY electronics, radio, computers and game controllers creates dynamic and surprising live performances that carefully balance elements of fragile beauty with violent eruptions of static, electromagnetic interference and feedback.

Adam has been performing and exhibiting throughout New Zealand and internationally since the late 1990s featuring at numerous festivals and exhibitions including Lines of Flight 2006 (Dunedin), TASIE 2006 (Beijing), S3D 2007 (Auckland), and Cloudland at ISEA 2008 (Singapore).

For September's Borderline Ballroom Adam will be performing new work for synthesizers and electrosmog.

MELA (Lytn)

Mela is Helen Greenfield (Barnard's Star, the LEDs, Miss Mercury)'s experimental audio/visual project which focuses on (revels in) the medium specific properties of a variety of obsolete media, and within which "layers of repeating melodies, gradually effected drones, and suitably unrecognisable beats create an imperfect but mellifluous musical microclimate."

For this Borderline Ballroom performance Mela will be eschewing the seamless translation of digital imagery to debut her OHP-projected, hand-coloured, hand-made slides, layering them in vibrant colour fields which recall the exuberant, colour saturated direct-film paintings of Len Lye, and sonically and visually investigating the aesthetics of the constrained gesture and broken things, saying \"maybe Mela more closely resembles her equipment at the moment... but who copies who?"

I-RORY (Chch)

I-Rory is an eclectic multi-instrumentalist, "a... dilettante, percussionist and improvising musician who plays the stereo." Last seen supporting Philip Jeck at the Borderline Ballroom #13, for September's performance he is promising to celebrate the politer pursuits of the season, to take listeners on "a sunday walk" and will be contemplating a "pitch invasion" with semi-automatic percussion, obstructed field recordings and attack, sustain, decay, feedback.

"Was a delight to absorb self in the digi-soup of I-rory. Using crude objects of both home-made and exotic qualities, I-rory evoked the sound plethorae of Zoviet France."
-Matt Middleton, April 2008

A'SIDES for BETAVILLE (Lytn)

a radio show hosted by Peter Kirk every Sunday on Volcano Radio 88.5FM from 10pm - 12am, A'sides is radio in the classic tradition of late night experimental collage soundscape, a maverick creative broadcast practice begun on US college radio in the late 1970s, with precursors in earlier music/audio/collage works and sound experiments, whose prior local manifestations include Rotate Your State (RDU, 1991-2003), as well as various programs on the original Radio Lyttelton.

A'sides rides the drift of the late night dial toward a poetics of the medium, becoming a framework through which to listen in to listening, playing with radio as-playback, making audible the sound of broadcast and its sonic storage media. In its collaged craftings, found-cultural detritus jams with precious artifacts of high culture, the mp3 speaks to the tape loop and the gramophone, hand-manipulated op shop records of Russian folk songs and sea shanties (the record as readymade... the medium as the massage) bump tactilities and temporalities with recordings of historic avant-gardists speaking on the creative process, and live streaming of internet radio art projects.

for the Borderline Ballroom, A'sides promises as much de-mystification of its process as it promises further inscrutability, staging radio art as Dj set and live event, while retaining its intimacy of late night listening for those who understand that "the ears don't have eyelids"

---

with many thanks to Volcano Radio, and to Matthew Ayton for technical support.

In late 2007 a bunch of Wellington musicians got together in an old woolshed in the Takaka Valley to record some songs. From this summertime project The Woolshed Sessions band and album was born.

Distinguished by lashings of lap-steel guitar, lush vocal harmony sing-a-longs, taonga puoro and banjo punctuations, The Woolshed Sessions is a fresh approach for New Zealand songwriting.

Starring in The Woolshed Sessions are Age Pryor - guitar/vocals; Andy Hummel - guitar/vocals; Jess Chambers - guitar/vocals; Justin Firefly Clarke – guitar, banjo, vocals; Al Fraser - taonga puoro, guitar/vocals; Lee Prebble - lap steel; Peter Hill – bass; and Brett Skinner – drums.

A hand numbered, limited edition The Woolshed Sessions CD and booklet featuring documentary photographs by Andy Morley-Hall is available October 2008, and to mark the occasion the musicians are bringing the woolshed experience live on stage at BATS Theatre, Wellington and The Nelson Arts Festival.

The Woolshed Sessions album was captured on an improvised recording set-up; essentially a borrowed collection of nice microphones plugged into an old computer. The musicians worked four days straight, morning, afternoon and night, jamming and recording ‘live’ - often with many attempts made until getting a version down that was felt to be ‘the one’.

Echoes of folk, country, 1920's swing jazz and old time blues wash over the assortment of modern New Zealand songs that were written by various members of the collective before and during the recording session. The end result is tinged with the ambient resonance of the space the music was created and recorded in – a converted woolshed with bare timber floors, lined with plywood and clad in corrugated iron.

‘You can hear the landscape in these songs. The balmy simple Golden Bay surface flows over dark secret underground caves. Life is sweet with unfathomable darkness lurking. Strings summer strumming with plenty on our minds.’ Gaylene Preston, film maker, owner of the Takaka woolshed

In late 2007 a bunch of Wellington musicians got together in an old woolshed in the Takaka Valley to record some songs. From this summertime project The Woolshed Sessions band and album was born.

Distinguished by lashings of lap-steel guitar, lush vocal harmony sing-a-longs, taonga puoro and banjo punctuations, The Woolshed Sessions is a fresh approach for New Zealand songwriting.

Age Pryor - guitar/vocals; Andy Hummel - guitar/vocals; Jess Chambers - guitar/vocals; Justin Firefly Clarke – guitar, banjo, vocals; Al Fraser - taonga puoro, guitar/vocals; Lee Prebble - lap steel; Peter Hill – bass; and Brett Skinner – drums

A hand numbered, limited edition The Woolshed Sessions CD and booklet featuring documentary photographs by Andy Morley-Hall is available October 2008, and to mark the occasion the musicians are bringing the woolshed experience live on stage at BATS Theatre, Wellington and The Nelson Arts Festival.

The Woolshed Sessions album was captured on an improvised recording set-up; essentially a borrowed collection of nice microphones plugged into an old computer. The musicians worked four days straight, morning, afternoon and night, jamming and recording ‘live’ - often with many attempts made until getting a version down that was felt to be ‘the one’.

Echoes of folk, country, 1920's swing jazz and old time blues wash over the assortment of modern New Zealand songs that were written by various members of the collective before and during the recording session. The end result is tinged with the ambient resonance of the space the music was created and recorded in – a converted woolshed with bare timber floors, lined with plywood and clad in corrugated iron.

‘You can hear the landscape in these songs. The balmy simple Golden Bay surface flows over dark secret underground caves. Life is sweet with unfathomable darkness lurking. Strings summer strumming with plenty on our minds.’ Gaylene Preston, film maker, owner of the Takaka woolshed

MPC Rumble

Ladies & Gentleman get ready to rumble as the third MPC Championship Of The World returns to the ring.

In the world's only official MPC battle, an all-star line of musicians and DJ's will compete at Bodega, Wellington on 25 September in an attempt to clinch the supreme title.

The MPC or Midi Production Centre is an all-in-one sequencer, sampler, controller and drum machine. Contestants will be provided with the same selection of beats and samples to mix ahead of fight night, and then compete live to deliver the most original composition.

Leading competitors for the showdown are Captain Imon Starr, 2002 defending champion, and DJ MU, the winner of the original title in 2001 who has gone on to incorporate the MPC as the heartbeat of Fat Freddy's Drop.

Joining the fray are MPC adversaries; Jetlag Johnson, Clubba Laing, Dobie Blaze, Riki Gooch, Rio, Fulla Flash, Submariner, Jeremy Ota, Julien Dyne, Killamanraro, P-Money & Kava.

The judges responsible for picking the ultimate winner, based on skill, dress sense and dance moves, will be Manuel Bundy, Downtown Brown and MC Antsman. With host MC Slave on the mic, the MPC Championship Of The World is guaranteed to be a dramatic night of entertainment.

Tickets available @ Mandatory, Real Groovy & Goodscore
Or online from www.amplifier.co.nz

WHO: Asni – formerly a world-travelling harper who settled down in Wellington five years ago and now presents her first New Zealand solo CD release featuring an unusual combination of medieval, traditional, contemporary and original harp music with Maori traditional taonga puoro (performed by Alistair Fraser).
Support: Tahu – Henare Walmsley, taonga puoro & Mike Hogan, guitar.

WHY: Don’t miss this rare opportunity to experience Asni performing live!

*Travels in Middle-earth* is available online on www.asni.net and other outlets.
CDs will be available for sale at the door - buy a CD and get in free!

Music in Middle-earth: The fantasy world created by J.R.R.Tolkien has woven itself into our modern global culture - and boosted not only the NZ film industry, but even the development of the internet! It is a metaphor for a world where people increasingly refuse to define their identity by “where they are from”, by their nationality and ethnicity.

Asni is a citizen of that world. Born in what was then West Berlin at the height of the Cold War, she found refuge from dreary surroundings and very real fears in Tolkien’s writings. They are what gave her the idea to learn harp in the first place! Her collection of instruments would not look out of place among Dwarves, Elves or Gondorians. She has travelled three continents as a virtuoso harp player of international reputation. Her fresh approach is gaining new audiences for an instrument that tends to live on the fringes of contemporary music culture.

Five years ago, Asni took up the New Zealand government on its offer to give her residency on the strength of her artistic reputation, and settled down in Wellington. Although adapting to a new and very different artistic environment has been by no means easy - an environment where the question “Where are you from” sometimes seems more important than “What do you do and how good are you at it?” - she has never looked back.

*Travels in Middle-earth* is Asni’s third CD production and the first produced in New Zealand. The idea for the album grew out of her performance at the Return of the Ringers fan party on the eve of the Return of the King premiere in 2003. John Howe, renowned Tolkien artist and conceptual designer for the Lord of the Rings movies, was so impressed with Asni’s first solo album 700 Years of Pop that he offered the use of one of his illustrations for the cover of the new CD. The project has had enthusiastic support from the fan community.

Never one to conform to role expectations, Asni has left her origins in classical music behind and has created her own contemporary style. She draws on a profound knowledge of musical traditions, and has worked with a wide range of musicians, from alternative pop to traditional Maori music. She was fortunate to collaborate with Alistair Fraser, who plays his taonga puoro (traditional Maori instruments) on several tracks of her new CD. A powerful combination of sounds and ancient musical traditions!

Music plays an important part in Tolkien’s fictional universe - but what did it sound like? - Not content with just adapting a few songs from Howard Shore’s film soundtrack, Asni took inspiration from the same sources that spurred Tolkien’s imagination: The album combines Medieval songs, dance music not only from Ireland and Scotland, but from Finland and neighbouring Estonia, and even from as far afield as Spain and Western Africa, as well as original tunes inspired by texts from Tolkien’s book.

Asni realized the opportunities the internet offered for independent musicians quite early on. In 2002 she took a weekend class and built a website in a text editor: www.asni.net now attracts some 500 visitors every day. Asni has built an international following through the net and was able to raise the funds for producing her new CD through pre-sales to fans in twelve different countries. New Zealanders at large have yet to discover Asni and her way out of the ordinary music.

More information: please visit www.asni.net

QUOTES

“To me, the whole point of engaging with music that has been buried by time is to eventually create something new.”

“Often, particularly with very old music, there is so little knowledge left that there are vast spaces to be filled by the imagination. It is a play with possibilities, all of them equally valid, rather than an attempt to arrive at one “correct” version of a tune.”

“One thing we do know – people played harp an awful lot in Middle-earth”

The Gus Fisher Gallery, 21-24 August 2008

A weekend festival of sound installations, performances and listening
events, including staff, students and graduates of The University of
Auckland School of Music and Elam School of Fine Arts. Speed of Sound
acknowledges the movement inherent in both the production and reception
of sound. Listening also plays an important role in our sense of space
and place, whether it is through our (conscious or subconscious)
awareness of the sound ecology we inhabit, or being transported to
destinations real or imagined through recordings and sonic
interventions.

Opening Thursday August 21st, 5.30pm

Sound installations in Gus Fisher Gallery through to Sunday featuring
Kaleb Bennett, Stephen Matthews and James McCarthy.

Friday August 22nd

Sound installations continue in Gus Fisher Gallery (noon - 5pm)

Transit Lounge (7pm)
A surround sound concert featuring Richard Francis, Sam Hamilton with
Tim Coster, and Clinton Watkins

Saturday August 23rd

Sound installations continue in Gus Fisher Gallery (noon - 5pm)

Live Wires (1pm)
Performances from James McCarthy and DJN

Sunday August 24th

Sound installations continue in Gus Fisher Gallery (noon - 5pm)

Sonar Realidad Interior: Mapping the Transient (noon - 5pm)
Sam Hamilton presents a performed installation of sound environments
from field recordings made in the Amazon jungle between November 2007
and February 2008.

Acousmatic listening (noon - 5pm)
A programme of award winning Electroacoustic works from the School of
Music's Jasmine Chen, John Coulter, Charlotte Rose, David Rylands and
Alex Bennett.

The Kenneth Myers Centre GALLERY HOURS
74 Shortland St Tuesday -
Friday 10am - 5pm
Auckland, New Zealand Saturday 12pm -
4pm
Telephone: 3737 599 ext 86646 Closed Public
Holidays

www.gusfishergallery.auckland.ac.nz

We have two more dates for the AF CD shop coming up.
We need more work to sell too, so please send us through anything you would like sold:

The Audio Foundation
PO Box 68518,
Newton,
Auckland,
NZ

No commission. We sell on behalf!!

Dates:
STARVING ARTISTS FAIR -2 pm on
Sunday, 10th August
Artspace
Auckland
http://www.starvingartistsfund.com/

CRAFTWERK - 6 pm - 8 pm
Thursday, 14th August
St Kevs Arcade
Auckland
http://www.craftwerk.co.nz/

The Auckland Film Archive is pleased to present a new exhibition curated by The Audio Foundation.

OPENING: 3 Sep, 6 pm
3rd Sep – 30th Sep
1st Floor, 300 Karangahape Road, Newton, Auckland
Hours: Mon-Fri 11am - 5pm, Sat 11am - 4pm

Seeking to underline the acoustic perspective in a predominately visual culture, the Audio Foundation asked five artists to explore the notion of transforming light or optical information into sound.
Included with the exhibition will be a catalogue and limited edition CD showcasing the artists.

Featuring:

Adam Willetts
Solarbotic Guitar Solo 3 was performed on the back porch by a simple, solar powered robot rolling around on a saucer balanced on the strings of an electric guitar plugged into a small, battery powered amp. This guitar was not touched by a human at all during the performance.

Adam Willetts is a musician and artist whose practice shifts casually between hi-tech and handcrafted as he explores relationships and interfaces between people, technology and popular culture. His use of DIY electronics, radio, computers and game controllers creates dynamic and surprising live performances that carefully balance elements of fragile beauty with violent eruptions of static, electromagnetic interference and feedback. He also creates sculptures in a variety of mediums including ceramics and electronics. Adam has been performing and exhibiting throughout New Zealand and internationally since the late 1990s featuring at numerous festivals and exhibitions including, Lines of Flight 2006 (Dunedin), TASIE 2006 (Beijing), S3D 2007 (Auckland), and Cloudland at ISEA 2008 (Singapore).

Joyoti Wylie
Joyoti Wylie was born in Rawene, New Zealand in 1975.
She graduated from Auckland School of Art and Auckland University of Technology with a Bachelor of Visual Art in 1997.
Director of artist initiative and gallery 'rm 3' with 5 others from 1997-2002.
Works with photography, video, sound and performance.
Has exhibited throughout New Zealand and internationally.
Currently Head of Art Department at Michael Park Rudolf Steiner School.
Most recent performances were at Auckland City Art Gallery, St Paul Street Gallery and the Blue Oyster Gallery performance series.

Kim Pieters in collaboration with Peter Stapleton
Kim Pieters is an abstract painter with a long history of commitment to photography, improvisational film and music. Her work in all of these art forms predominantly finds its point of departure in her interest in the deictic experience the encounter of human perception and technology with the 'real'. She engages particularly with those realms of the real that allude to chance, the trace and notions of the sublime. What is of especial importance to her is that moment of space where the proximity with something in its first instance cannot be named, coded or rationalized.

Peter Stapleton is a musician and sound artist with an extensive involvement in New Zealand experimental music, playing and recording with bands such as rain, flies inside the sun, sleep, a handful of dust and currently with eye and PSN electronic. He runs the Metonymic label which specializes in improvised music and has provided the sound component to a number of visual installations and soundtracks to short experimental films. Peter also curates Lines of Flight, a festival of experimental music and film.

Stella Corkery
Stella Corkery is an artist and multi instrumentalist whose practice extends from the mid 80's with the groups Angel Head, Queen Meanie Puss, Fake Purr and White Saucer. She has had releases on labels such as Xpressway, Flying Nun , Siltbreeze and CLaudia. She created two record labels, Girl Alliance to primarily document the nascent Riot Girl scene of the mid 90’s and a more experimental label Pink Air. While also self releasing her own solo projects under the name Sweetcakes she now composes and records as ARROWS with a Pink Air 12” lathe to be released shortly.
As a visual artist she has exhibited in New Zealand with Cuckoo, Testrip, Fiatlux, Artspace and www.academy.co.nz

Andrew Clifford
Andrew Clifford is an artist, freelance writer, and works as a curator
at The University of Auckland's Centre for New Zealand Art, Research and
Discovery. His own art practice is primarily concerned with making
tangible the seemingly invisible materiality of sound, often through the
invisible presence of radio and the subliminal effects of light. He has
performed and exhibited in venues throughout New Zealand and Australia.
He is currently a board member for the Audio Foundation and between
2003-2007 co-curated New Zealand's longest-running international
sound-art festival, Alt.music.
As a writer, he has mostly focussed on art and music and has made
contributions to a long list of publications locally and abroad,
including The New Zealand Herald, NZ Listener, Pavement, White Fungus,
Real Groove, Rip It Up, Vogue Living, Art & Australia, Art World,
Eyeline, and many more. He has also provided essays for books, gallery
and academic publications, most recently contributing to the John
Reynolds monograph Certain Words Drawn and the Aotearoa Digital Arts
Reader.
Clifford's involvement with radio is not just an experimental one.
Between 2002-2007 he produced more than 100 programmes for Radio New
Zealand, preceded by 10 years producing and presenting a variety of
programmes for 95bFM, including Art on Air. As a curator, he has
coordinated music programmes and sound-art exhibitions for a number of
galleries, including the Auckland Art Gallery, Govett-Brewster Art
Gallery and Artspace.

www.filmarchive.org.nz
www.audiofoundation.org.nz

Vitamin S and Stamp present

Marilyn Crispell, Richard Nunns & Jeff Henderson
Supported by the New Pacific Music Ensemble
Friday the 19th of September will be an unforgettable evening of unique and creative music. Performing at the Edges Lime-Light bar in the Aotea Centre the explosive creativity, and dynamic personality that is New York pianist Mariln Crispell will perform solo. Crispell will then team up with our own national treasure Richard Nunns on taonga puoro (Mäori musical instruments), and the creative force of Jeff Henderson.

Marilyn is world renown as one of the finest exponents of the piano both as a performer and as an improviser. Her live performances have been described as ‘like monitoring an active volcano’ and _Larry Kelp from the San Francisco Express says "Her improvisational approach is so personal, so explosive and so devastating that it makes jazz (and most other music) sound like the archaic language of an ancient people. There's also a gentle side that makes even simple melodies seem radiantly beautiful.”

Equal to the task of performing with such an international heavyweight of contemporary music are Richard Nunns and Jeff Henderson. This is not the first time the trio have performed together in Auckland. In 2000 Henderson bought Crispell, Nunns, and himself together for the tour of Urban Taniwha. A large ensemble work written and produced by Henderson with Nunns and Crispell as pivotal figures. Since that performance in 2002 audiences have been waiting patiently and expectantly for another opportunity to see and hear this dynamic combination.

What makes this performance so unique is the collaboration of musical forces and sound worlds. With each performer recognised internationally in their own right. this is an opportunity that will leave worldwide audiences salivating and glaring with jealousy at gig guide postings, previews and reviews. With the deeply traditional and unique sound of Richard Nunns Taonga Puoro integrated with Marilyn Crispell’s diverse piano style, and Jeff Henderson’s personality on reeds it is a concert that truly could only happen in this time, and be of this place.

Rarely do we get an opportunity to see one performer of this caliber in Auckland, let alone 3 together in one night!

Marilyn, Jeff and Richard will be joined for a late set by the New Pacific Music Ensemble. This highly original Auckland group is a collaboration of Rarotongan drumming and string band instruments with contemporary music, jazz, and improvisation. Featuring John Bell, Tua Mete, Chris O’Conner, Jacob Unuia, Kingsley Melhuish, Mare Thom, LJ Unuia, and joined for this special performance by Jeff Henderson and Richard Nunns.

Vitamin s presents improvisation workshops

Sunday August 3 Mark Trayle
6PM Wine Cellar Back room $5

Collector/Emitter
Listening and Performing with Electronics

A workshop for anyone using electronics to make improvised/experimental music, and their friends.
On the way to making an evening concert we'll work with gesture, texture, and timing in an ensemble of electronic instruments.
Bring your own laptops, analog synths, effects pedals, home-brewed circuits, hot-wired mixers, MP3 players, bent toys, and what the hell, radios. And some amplification, too.

Mark will also perform Sat 2nd August solo, and with Richard Francis, and Paul Winstanley.
Supported by group V – Luke Munn, Jim Gardener, Joe McCullum, John Bell and Derek Tearne

$5 wine cellar back room
8:30pm

BIO

Mark Trayle has been playing live electronic music since the late 1970s.
Recent collaborators include Muhal Richard Abrams, Boris Baltschun and Serge Baghdassarians, David Behrman, Jason Kahn, Toshi Nakamura, Wadada Leo Smith, and The Hub.

http://music.calarts.edu/~met

Improvisation is an exciting, and highly valuable tool within the performing arts disciplines to generate new ideas and possibilities for new work.Â

Vitamin S Improvisation Workshops are for anybody who wishes to engage and learn about the practice of improvisation.

Whether you are a dancer, sound artist, musician, designer, painter, puppeteer, sculptor theatre practitioner or graphic artist, etc - if you are interested in improvisation these workshops are for you. We also welcome anyone to attend as an observer. If you are interested in what it is all about, then please do come along.

These workshops are open forums promoting dialogue between the host and those attending. This is an awesome chance to develop concepts, exercises, and ideas introduced by the host and performed within the group; as well as inviting discussion and feedback.

Whatever level you are at from the novice to the expert, the workshops offer everybody the chance to swap ideas and practice this largely misunderstood form.

Amazing results occur regularly.

-----------------------------------------------------------

Linwood College Adult and Community Education in Christchurch is running an introduction to electronics night class over the next couple of terms where you get to build a simple analogue synth. Starting with an overview of basic electronics concepts and techniques, the focus will be on the practical construction of a variety of fun circuits for the making of electronic music. No previous knowledge of electronics or music is assumed.

The stuff we will be building will be simple, but fun. We're going to timewarp back to about 1977. Over two terms we will be making a small modular analogue synth. Ribbon controller, LFO, VCO, VCF, VCA. As this is an introductory course, we will be keeping things simple, but encouraging exploration and experimentation in both electronics and electronic music making.

At Linwood College, Tuesdays 6.30 – 8.30 pm starting 29 July and going through to early December.

Cost $115 per term including materials.

Please enrol by the 25th of July, by phoning 9820100 x 821 or emailing ace@linwoodcollege.school.nz

Colliderscope presents "No Man's Land" at the monthly "Intersect" music and visuals nights at Galatos. Skeletal, off-world electronica and visuals collide in the spaces between dreaming and waking. Alien lullabies envelop and mesmerize - warped beauty enfolds you in an unsettling and compelling "No Man's Land" Music and vocals from Scottish/Burmese producer Fiona Soe Paing, original animation from Zennor Alexander.

The song in Burmese language, "Tamin Sah Pade" appears on the international compilation album "Sound of The World 2007" by BBC dj Charlie Gillett, which also features Gotan Project and Devendra Banhart.

'SEDUCES, SCARES AND EMBRACES YOU ALL AT ONCE" (INTERNATIONAL DJ MAGAZINE)

"HYRID GOING ON MUTANT" - (GUARDIAN UK)

"REALLY COOL... AND WEIRD!" (CATSKILLS RECORDS, UK)

WWW.COLLIDERSCOPE.COM

MIC Toi Rerehiko presents Ryoji Ikeda and Stuart Page.

OPENING RECEPTION JULY 11 @ 8PM,
Level 1, 321 K-Road, Newton, Auckland

RYOJI IKEDA – data.tron

MIC Toi Rerehiko is delighted to present Ryoji Ikeda in association with co-producers Le Fresnoy, Studio national des arts contemporains and Forma www.forma.org.uk. Ryoji Ikeda is widely recognized as Japan’s leading electronic composer/artist and is renowned for his acclaimed solo concerts, installations, recordings and collaborative work with international luminaries such as William Forsythe, Toyo Ito and Hiroshi Sugimoto. Working across both visual and sonic media Ikeda explores the ways in which music, time and space are shaped by mathematical methods.

Ikeda’s data.tron installation was produced as part of the of the datamatics project. Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished series of works. data.tron is a dramatic, intense and deeply absorbing audiovisual concert, where every pixel of visual image is strictly calculated by mathematical principle, composed from a combination of pure mathematics and the vast sea of data present in the world. These images are projected onto a large screen at an extremely fast rate, up to four times faster than normal film, heightening and intensifying the viewer’s perception and total immersion within the work.

SHUSTAK: STUART PAGE

Stuart Page has mounted an extensive meta-narrative and a sustained conversation in pieces, part wild homage and part quiet ode to the life and work of Larence Shustak. Shustak, an American, the son of Jewish immigrants, discovered photography while in the military and gave up a career in the States to come and teach at the edge of the world in New Zealand. Page will be presenting a multifaceted portrait of the man as artist, teacher, friend, father, husband, provocateur, agitator, character. This exhibition brings into relief the creative dynamic between Shustak and Page, their shared and renewed interest in the visual language of the street, graffiti and living in an ever-changing sign - age. Page combines his own mix of unconventional ‘talking head’ interviews with a breath taking selection of photos and original 16mm films scanning his former teacher’s career from stunning Harlem social photo essays to provocative fish eye nudes, and from stark black and white 16mm shorts to lush Polaroid’s. This exhibition is an exceptionally beautiful and extraordinary testament to the depth and breadth of the inimitable talent of Larence Shustak.

RYOJI IKEDA – data.tron
SHUSTAK – STUART PAGE
MIC Toi Rerehiko, 321 Karangahape Rd, City
July 11 – August 15
Gallery Opening Hours:
Tue - Fri, 10am – 6pm
Sat, 11am - 4pm

For more information contact
Nicole Edwards, nicole@mic.org.nz or +64 9 379 9922

Tim Coster graduated with a Bachelor of Visual Arts from AUT in 2002, specialising in sculpture. Since then he has been practising mainly as
a Sound Artist, working with audio releases, installations and
performance. Coster uses field recordings and other gathered sounds,
processed by computer and digital/analogue looping devices to create
shifting delicate drone works. Collaborations include work with Mark
Sadgrove, Nigel Wright, Andrew Scott (as Huzun), and Plains.

Tim curates the CLaudia label, which releasing audio documents
focussed on field-recordings and computer sound. CLaudia's first CD
release was Compact Listen, a 2007 compilation featuring New Zealand
artists curated for the High Street Project gallery.

Tearing up the ether and playing with the wreckage, Adam Willetts
employs a variety of radio devices along with a homemade analog synth,
creating a tactile and physical approach to electronic improvisation
that incorporates the wireless space and electrosmog produced by these
instruments into both their control and audible output.

Adam lives in Christchurch and has been performing and exhibiting
throughout New Zealand and internationally since the late 1990s. He
has performed at events such as Lines of Flight, 2006 and S3D, 2007,
and will be performing at the International Symposium on Electronic
Art in Singapore this July.

AUDIO FOUNDATION PRESENTS AN ALTMUSIC EVENT
RAFAEL TORAL
WITH ADAM WILLETTS

RAFAEL TORAL (PORTUGAL)

"SPACE STUDIES"
Rafael Toral was considered in the 1990s "one of the most gifted and innovative guitarists of the decade" (Chicago Reader). He has collaborated with Jim O'Rourke, John Zorn, Alvin Lucier, Evan Parker, David Toop, Sonic Youth, Fennesz and many others, having played across Europe and the US, Canada and Japan. He's a member of the electronic orchestra MIMEO, alongside Keith Rowe.
To this point, Toral has been known largely for his guitar work, which operated within a particular aural context. With Space, he’s divorced himself entirely from these former concerns, redefining himself as a musician with new instruments and new techniques. Space represents the sort of aesthetic shift that can mark an important moment in an artist’s career.
After 15 years of accomplished work on guitar and electronics, the Portuguese musician, producer and sound engineer announced that he was to embark on a long-term project, which was to be a multi-faceted work-in-progress representing his new approach to music.

It took him three years to find his way into a complete renovation of his music:
"For a new endeavor I needed new information, and I discovered that the field of knowledge in music that I had most to learn from was jazz. There is a long line of connections and fusions between jazz and electronic music, and I envisioned that a step beyond would not be more jazz with electronics, but on electronics."

The sounds are generated by self-devised electronic equipment set into action by the performance of gestures, by bodily action. Thus, the music is created by individual decisions in real time and Toral brings a performative aspect to electronic music that it often sorely lacks.

Toral’s musical canvas is much like that of deep space, a monochrome field upon which smaller fragments twinkle and shine, and also – more than ever before – Toral is working with silence in his work, exploring the space between and around the music he makes, and making this void as much a part of the music as the sounds that are heard.
http://www.myspace.com/rafaeltoral
http://www.rafaeltoral.net/

************************************************************************

ADAM WILLETTS (CHCH)
Tearing up the ether and playing with the wreckage, Adam Willetts employs a variety of radio devices along with a homemade analog synth, creating a tactile and physical approach to electronic improvisation that incorporates the wireless space and electrosmog produced by these instruments into both their control and audible output.

Through his use of DIY electronics and radio, and unconventional and subversive uses of computers and game controllers, Adam has established a reputation for dynamic and surprising live performances that carefully balance elements of fragile beauty with violent eruptions of static, electromagnetic interference and feedback.

Adam lives in Christchurch and is also known for his work as a visual artist. He has been performing and exhibiting throughout New Zealand and internationally since the late 1990s featuring at numerous festivals including TransAcoustic 2005, Lines of Flight,2006 and S3D 2007. He will be performing at the International Symposium on Electronic Art in Singapore this July and is currently working on a CD for High Street Project that will be released later this year.
************************************************************************

Organised by the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant-garde sound art from around the world to New Zealand.
Previous AltMusic artists include The Necks, Daniel Menche, Keith Fullerton Whitman, Pauline Oliveros, Voice Crack, Francisco Lopez, Philip Jeck, Oren Ambarchi, Metamkine and the Dead C.

The Audio Foundation and Altmusic is supported by St Pauls Gallery and AUT, Creative New Zealand and ASB Trust.
Rafael Toral is supported by Instituto Camões, Direcção-Geral das Artes,
Fundação Luso-Americana, Fundação Calouste Gulbenkian.

Friday 29 August 7.30pm Tujiko Noriko, Japanese avant-pop, experimental musician will perform. Courtesy of Room 40. Support from Dunedin band Ray Off. A musical experience not to be missed. $15/$10 no Eftpos

Thursday 3 July 7.30pm SYNC - musicians Alison Isadora and Jan-Bas Bollen - direct from the Netherlands, perform a new work Trace. SYNC performed here in 2001, and Dunedin is the first stop on their 2008 New Zealand tour. An audio-visual treat. $15/$10. Door Sales only. No Eftpos.

Saturday 21 and Sunday 22 June 3pm On the big screen a programme of short experimental films (approx.40-50mins) by local artists Kim Pieters and Nathan Thompson. Free

Saturday 28 June 7.30pm Space Studies. Internationally respected musician Rafael Toral, who is touring New Zealand, will play. (visit for more information), Courtesy of Room40, Instituto Camões, Direcção-Geral das Artes, Fundação Luso-Americana, Fundação Calouste Gulbenkian. Support from Dunedin band EYE. $10/$15. Door sales only. (No Eftpos).

Thursday the 15th of May sees three young NZ solo soundscape artists (I.Ryoko, In The Interest Of The Convoy (WGN) + Monolith (AK) come together to collectively create a guitar-based sonic space. Hailing from a variety of collective enterprises (A Flight to Blackout/Enright House, (Akaname/Donatello/Ornithologist, Ulcerate/The House Of Capricorn/Graymalkin) the three will create a soundmass unique to one night only.

myspace.com/idotryoko
myspace.com/intheinterestoftheconvoy
myspace.com/sonorouscircle

The deep south and Dunedin welcomes Elise and Jem from Melbourne with some top drawer ecstatic chaotic hypnotic beautiful noise and sound and rock and and and and ... come along! Doors open from 9pm, in the new Arc. Its getting pretty cold these days, so hopefully the fire is roaring along with the music.

supports:
Black Boned Angel, The Stumps, The Inventionists.

elise and Campbelle Kneale first collaborated together in BCM.

it's been many years since they have graced the same stage. Maybe we'll get a little cross polenation going.

Who can say? You'll just have to come down and see.

myspace.com/eliseandjem to hear sounds.

If anyone wants to record the show we'd be stoked.

Supports: Hoopla!, One Armed Tourist, Bad Evil.

www.myspace.com/eliseandjem

SWELL is a monthly experimental night. We'll be broke by this stage of the tour so come and buy a CD.

If anyone wants to record the show we'd be stoked. Hoping to compile some kind of release from this tour.

elise is from Palmy originally so......i dunno make her feel at home?

Supports:
malenki Robot, moosmbasil, bemsha swing

www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

Supports: Crashes & Ministry of Hypocrsisy
www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

Supports TBA

www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

Supports: Rocket Jocks, Vicious Rumour, Nervouse Surgeons, Safety First

www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

been told this venue rules.

www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

Come and say g'day.

www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

This is the first show of our NZ tour.
We are going on between a couple of punk bands and a couple of poets.

www.myspace.com/eliseandjem
if you want to listen to some stuff.

We will Have copies of our first album and maybe a tour ep (if we get it done in time!) Aswell as canvas Patches. people are encouraged to record these shows, we'd love to make a release out of something from this tour.

AUDIO FOUNDATION PRESENTS AN ALTMUSIC EVENT

Philip Jeck (UK)

Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. Since the early '80's he has made soundtracks and toured with many dance and theatre companies as well as his solo concert work.

His recent collaboration with Gavin Bryars on a re-interpretation of the seminal ‘The Sinking of The Titanic’ has received high acclaim amongst critics worldwide. His best known work "Vinyl Requiem", a performance for 180 '50's/'60's record players, won Time Out Performance Award for 1993.

He plays them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes genuinely moving and transfixing music, where we hear the art not the gimmick.

A typical Jeck composition moves at an incredibly lethargic pace through a series of looped drone tracks caught in the infinities of multiple locked grooves. As he prefers to use ancient vinyl on his antique turntables, the inevitable surface noise crackles into gossamer rhythms of pulsating hiss. Occasionally, Jeck intercedes in his ghostly bricolage with a slowly rotated foreground element - a disembodied voice, a melody, or simply a fragment of non-specific sound -, which spirals out of focus through a warm bath of delay

http://www.philipjeck.com

Free lecture at Elam Lecture Theatre
(Under the Fine Arts Library, 20 Whitaker Place behind St Paul's Church)
Friday May 23rd 1:00pm - 2:00pm

*******************************************************
Sandoz Lab Technicians

Key figures in the New Zealand 'Free Noise' scene since the early 1990s, Tim Cornelius, James Kirk, Nathan Thompson are a multi-instrumental free-improvising trio.

Performing in Auckland for their first North Island show ever, they bring the trademark Sandoz confection of ethno - folk, lethargic raga rock, ambient jazz and whatever else strikes their fancy, so fully realized by now that they don't sound like anyone but their own bad selves and the quality is so superlative that it induces the good kind o'gooseflesh.

In the middle of the intoxicating amalgam there's a sense of beauty and isolation that is much more seducing than it is alienating.

Layers of restrained feedback are placed against a tapestry of improvised drums and subtle fogbanks of organ, but it’s not the instruments applied that’s important here. Rather the filmic, organic, droning and improvisational feel that comes wrapped around the glacial and stretched out notes.

http://www.myspace.com/sandozlabtechnicians

*******************************************************
Sam Hamilton

Based in Auckland, Sam Hamilton makes work ranging the gamut between deconstructive improvisations with acoustic “found” objects, arrangements for acoustic string ensembles to investigative field recording adventures into the sound environments of the Amazon rain forest in Brazil, Columbia and Peru.

His enthusiasm and passion for artistic interaction have led him to work and collaborate with a diverse range of musicians, artists, scientists, film makers, theorists, writers and other such illuminating characters from across the globe. Sam has produced recorded works and installations that have been presented in various places from galleries to museums and has been reviewed in a number of publications including The Wire.

http://www.myspace.com/samhamilton0

*******************************************************

Organised by the Audio Foundation, Altmusic is an ongoing series of audio events, regularly bringing a vital injection of contemporary and avant-garde sound art from around the world to New Zealand.
Previous AltMusic artists include The Necks,Daniel Menche, Keith Fullerton Whitman, Pauline Oliveros, Voice Crack, Francisco Lopez, Oren Ambarchi, Metamkine and the Dead C.

The Audio Foundation and Altmusic is supported by Creative New Zealand and ASB Trust

http://www.audiofoundation.org.nz

http://www.myspace.com/altmusicfestival

The Stumps (Wellington) & White Saucer (plus Djs Tanner, Seht and Wyatt Riot)
Saturday 26th April 2008, doors at 9.30
Whammy Bar, St Kevins Arcade - $10
****************************************************

The Stumps are a ‘supergroup’ of some of Wellingtons most prominent sound artists/musicians. Featuring Antony Milton (Sunken/NetherDawn/Glory Fckn Sun and also boss of PseudoArcana label), James Kirk (Sandoz Lab Technicians, Black Boned Angel) and Stephen Clover (Seht). Their sound moves from slowly evolving drones to noise prog rock, mixing in ‘free jazz drum splatter’ and psych-noise. Their initial LP, Split Fleet Dodge, was released to critical acclaim overseas, even making it to #18 in Thurston Moore and Byron Coleys best of 2006 list. This show marks the Stumps first show in Auckland, and will be one not to miss.

White Saucer are an avant-rock duo comprised of guitarist Alan Holt and drummer Stella Corkery. Inspired by the triple threat freedoms of free jazz, 20th century avant-garde and psychedelic/improvised rock music White Saucer have been flying their unique ‘freak flag’ since the mid 90’s.
They have played numerous shows and have released a number of records and appeared on several compilations. Their latest appearance being a remix of Marz Attax on the Coco Solid remix album - Denim & Leisure.
While primarily a drums and guitar band they also broaden their palette with electronics and acoustic percussion.

As if that wasn’t enough…

DJ Tanner will be making his first appearance, having escaped from next door to Bob Saget to play the best garage-rock/psych/doo-wop you’ll hear through a large PA.
Seht will be Djing, a, uh.. DJ-Seht of unknown/known/awesome music sure to please your ears and the mysterious Wyatt Riot will also be making an appearance to play freshly burnt cds of music that you probably don’t know about yet. No-one knows much about Wyatt Riot, but its rumoured he has had his lower ribs removed to fit in a cd-burner and Ethernet port…..

Contact: hertzz@gmail.com

Stumps: www.myspace.com/stumpsthe
White Saucer: www.myspace.com/whitesaucer

We are playing Christchurch, Dunedin, Lytellton, Napier, Wanganui, Hamilton, Auckland, palmy nth. Wellington.

I'll put the whole tour up soon. Anyone who wants to lend gear/beds etc. or help with any promo (no zine is too small) please contact us at: eliseandjem@gmail.com

or if you just want to reccomend good local beers/record stores. Oh and we are hitching to most shows so a lift would be awesome and rewarded.

thanks
elise&jem

“If music is like blood - then make the speakers bleed" Daniel Menche

Daniel Menche has established himself as a musician with a sense of focus and determination uncharacteristic in a genre known for its randomness and chaotic structure. Rather than creating "noise," he strives for order and cohesiveness. Subtle and patient compositions rely on long, dense layers of droning sounds, while abrasive pieces rely on sounds amplified and processed to extreme levels, pushing the full spectrum of frequencies to the most threshold of limits.
Menche's music is never just "noise", but focused explorations of sonic structures that provoke and stimulate the listener's imagination and emotions through the generation of intensely powerful sounds.
This is dedicated music that expresses the undisciplined purity of emotion. Characterized by forcefulness of sound, music that strives for one goal: vehement beauty.

**********************************************************

Birchville Cat Motel is the music of New Zealander Campbell Kneale.
“An ever-changing, gently unravelling ball of pure sound, sometimes beautiful enough to make you weep, sometimes ferocious enough to rip the gravel off your driveway”
Moved among other things by '60s minimalism, musicological field recordings, religious music, doom metal, and Appalachian music, and crafting his ecstatic blur-scapes from delicately caressed pieces of electronic junk, Birchville Cat Motel has gained international recognition as one the bright shining lights of what music journos have dubbed 'drone-music'

****************************************************************

Golden Axe are a sound-performance trio from Auckland, known equally for their make-shift aesthetic and the visual “ZAM” of their performances, as the synthy lo-tech music they create. From humble beginnings busking the streets of Auckland, Golden Axe has gained popularity with both sound-art and rock crowds alike. They have since played in the 'Starkaudio' series at Starkwhite gallery, toured the North Island with 'A Low Hum Magazine' and 'Meatwaters' while in Wellington.
These no-fi mystical genies are now joined by an A.D.D five year old on drums and have resurrected into a phoenix of epic new age interstellar5555 proportions.

Links:

Daniel Menche

http://esophagus.com/htdb/menche/

http://danielmenche.blogspot.com/

http://www.youtube.com/watch?v=7VATJlMm57s&feature=related

Birchville Cat Motel

http://www.cpsip.co.nz/

http://www.youtube.com/watch?v=0HX2BR3WLS4

Golden Axe

http://www.youtube.com/watch?v=HHIVf-tD2K8

SOUND CIRCUIT
13 March - 20 April
Sound Circuit is a suite of four temporary sound projects commissioned by the Adam Art Gallery to take place in public spaces around Wellington in March and April 2008.

Using various downtown sites, Sound Circuit explores the city through sound. Featuring the work of Rachel Shearer, Dugal McKinnon, Kaleb Bennett and Dion Workman, it listens in on the rumbles and reverberations of the city’s streets and public spaces, enticing audiences to re-think their everyday urban environments.

Wellington-based composer Dugal McKinnon has worked with Wellington’s Institute of Geological and Nuclear Sciences to construct a multi-channel sound installation based on turning real-time seismic data streams into sound. Speakers built into the architectural fabric of Victoria University’s Rutherford House, literally give voice to the constant geophysical processes of New Zealand

Sound designer/editor and experimental musician, Rachel Shearer installs an ambient soundscape at either end of the foot tunnel that runs intoWellington’s Railway Station. She aims to gently engulf pedestrians’ senses as they walk through the tunnel, so distracting them from their usual experiences, to create a moment of aural suspension.

In previous work, Kaleb Bennett has staged ‘audio actions’ in customised cars that take passengers around a city, so utilising an entire city as a site for his work. For Sound Circuit, Bennett further develops his interest in mapping the urban environment by using a vehicle as a sound ‘machine’ which will surprise and engage pedestrians as they walk the city’s streets.

Visual artist, composer and improviser of experimental music, Dion Workman will conduct a series of sound events, or musical movements that will be staged over the course of a week in different public locations throughout the city. Performed by four players, each activating a sound-generating object, these movements will describe a trajectory across the city that unsettles its familiar topography.

The works will take place at different times over a period of six weeks
at the following locations:

Dion Workman 13 - 20 March
public spaces around Wellington City

Dugal McKinnon 28 March - 20 April
Bunny Street entrance to Victoria University’s Rutherford House

Rachel Shearer 28 March - 20 April
Foot tunnel linking Lambton Interchange and Wellington Railway Station

Kaleb Bennett 31 March – 20 April
Streets of the greater Wellington region

Programme

Friday 14 March, 12.30pm
Artist Talk, Dion Workman
237 Cuba Street (next to Elmers Mower Centre)

Friday 28 March, 8pm
Performance, Rachel Shearer
Underpass between Lambton Interchange and Wellington Railway Station

Friday 11 April, 12.40pm
Panel Discussion, with artists Dugal McKinnon, Kaleb Bennett,
Sound Circuit curator Frances Loeffler, and sound/art specialist Andrew Clifford
Upbeat, Radio New Zealand

Crack Productions / Metonymic Trust (DUN)
DUNEDIN PUBLIC ART GALLERY (3rd; 4th; 5th); VARIOUS LOCATIONS (6th)

Dunedin’s experimental music subculture takes you on an exploration of the chance and collaboration that informs all music. Innocence (3rd) live soundtrack creation / new NZ film & video; Experience (4th) at the edge of composition; Private (5th) an immersive sound environment; Public (6th) a tour through Dunedin’s sonic spaces.

Replacing Lines Of Flight for 2008, SOUND IN THE CRACKS takes adifferent angle on musical experimentation by breaking down the ways
that a musician works with the stimulus of his/her environment into four separately-themed concerts/experiences:

INNOCENCE (April 3rd, 8pm)
Forty (or so) Dunedin musicians are put into a room. All of their names are put into a hat. Then a series of short (generally
speaking, 5 to 12 minute) silent films are shown. For each film, three musicians' names are pulled out of the hat. They then improvise the soundtrack to the next film, which they are unlikely to have seen before.
($12/$10conc)

EXPERIENCE (April 4th, 8pm)
A night of modern composition, interpreted at its' most basic level - that one person tells some other people what to do. This is composition in paint, in word, in flesh, in ether - as well as music. All works are by Dunedin residents. ($12/$10conc)

PRIVATE (April 5th, 8pm)
A night of immersion. Here, we erase the borderline between musician and audience to give an even greater understanding of how musicians work and think. Not quite a workshop, and not exactly a "happening" - but definately a unique experience. This night is FREE but numbers are strictly limited. No intoxicated persons will be admitted.

PUBLIC (April 6th, time to be confirmed but approx. 2 or 3pm)
An exploration of Dunedin's acoustic ecology. Some transport will be provided, but please bring your own if you can. FREE.

SOUND IN THE CRACKS utilises the skills of over 60 Dunedin-based creative musicians, and well as workers in other discplines, and the films in the first concert have been collected from top-notch makers from around the country.

The Audio Foundation presents the second AF CD Shop!
complete with badges...

We are selling on behalf of all artists in NZ and all profits will of
course go back to the artists.

In stock we have:

* Lovely Midget
* Sci Hi and Audible 3
* PseudoArcana artists
* CMR artists - including Richard Francis latest work
* CLaudia artists
* Nigel Wright
* Rosy Parlane
* Pumice
* Adam Willets
* Crude
* Agitated Radio Pilot
* Spacething stock
* Postmodern Core artists
* Golden Axe
* Dream Roll artists
* United Fairy Moons artists
* Artless Intent artists

and many more!

Come along and check it out

The Necks are one of the great cult bands of Australia. With next to no publicity, their thirteen albums have sold in their thousands.

Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms.

These three musicians are among the most respected and in-demand in Australia, working in every field from pop to avant-garde. Over 200 albums feature their presence individually or together, but the music of The Necks stands apart from everything else they have done.

Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, the thirteen albums by The Necks stand up to re-listening time and time again.

The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.

Feb 29th at The Civic Wintergarden 8 pm

Jon Dale is gracing Auckland with a visit on his whirlwind NZ tour...
"Some of you may know Jon as the guy behind 'Moth', this fantastic (and up until now..) ultra secretive drone guitar project. Sometimes lush and beautiful, other times scorchingly loud and ecstatic.He also runs the Rhizome label, is an academic specialising in underground
music, and is a regular contributor to the recently controversial (ahem) Wire magazine."

$5 on the door! Please try and make it on time, theres a lot to see and we will be punctual(ish