MARTIN KAY – STADIUM
Martin Kay’s Stadium records the crowds of voices that fill the iconic Melbourne Cricket Ground (MCG) – a body public.
RICHARD KAMERMAN – NOW IT SEEMS THAT EVEN THE SCAR HAS FADED AWAY
Richard Kamerman’s Now it seems that even the scar has faded away was recorded live during Sux By Suxwest 5: The Final Suck at Club 1808 Annex, Austin, TX on Sunday March 22nd, 2015 at approximately 6:15pm.
DUNLOP/SLAZENGER, 9-15 BOWDEN ST, ALEXANDRIA, NEW SOUTH WALES, AUSTRALIA, 2015 (ACCESS THROUGH CARPARK AT 17-21 BOWDEN ST, ALEXANDRIA, NEW SOUTH WALES, AUSTRALIA, 2015).
A document of Dunlop/Slazenger, 9-15 Bowden St, Alexandria, New South Wales, Australia, 2015.
ROSALIND HALL – CARRIAGE OF THE VOICE
With Carriage of the Voice Rosalind Hall explores how a space can form an extension of her body, her limbs and saxophone evaporating from consciousness as the music she plays transforms the surrounding environment.
RISHIN SINGH – THREE WEEVILS
Rishin Singh’s Three Weevils presents an artist exploring how he is part of his sonic environment, treating himself as soluble rather than individual. Instead of playing with the sounds around him Singh plays inside them, his voice gradually lost in the flood.
ERNIE ALTHOFF – TIDE SHELF
Ernie Althoff’s Tide Shelf gathers recordings from across the last twenty-five years. Including some of his most recent work alongside other previously unreleased pieces, it draws together tributaries running through his installation, instrument building and performance practice. Demonstrating his ongoing interest in playful kinetic explorations of the interplay of materiality, rhythm and texture, it is an album of vital contemporary music.
ANTHONY MAGEN & CHRISTINA TESTER – THE BIRDS & THE BEES
Anthony Magen & Christina Tester’s The Birds & The Bees is a special edition lathe cut and mp3 release that draws together a piece from each artist, playfully destabilising the boundaries between artificial and natural, mediated and live and male and female.
PETER BLAMEY – FORAGE
Peter Blamey’s Forage documents a forage for signals from a small electrical environment created by using eight salvaged computer motherboards, tangled bunches of exposed copper wire and some small amplifiers to form a feedback network.
MIKE MAJKOWSKI – TREMOLO
Mike Majkowski is interested in extending the technical possibilities of double bass bowing techniques, paying close attention to the tremolo technique. Tremolo was constructed over the course of about four months in 2011 but is a continuation of solo work he began in 2008. The piece is based on a number of sonic possibilities – both harmonic and textural – that may be extracted from the use of this technique, which serve as a point of departure. This recording captures a memorable and particularly focused performance of the piece.
SAM PETTIGREW – DOMESTIC SMEAR
Sam Pettigrew’s Domestic Smear uses the bass as a theatre to question stereotypical roles, including the artist as performer, the listener as audience and identity as independent, gendered and individual.
JIM DENLEY – YOUR BREATH ON MY LIPS
Jim Denley’s Your Breath On My Lips mingles inside and outside into an astonishing intimacy.
MATT EARLE, JASON KAHN & ADAM SUSSMANN – CONCERTS MELBOURNE+SYDNEY
Matt Earle, Jason Kahn & Adam Sussmann’s Concerts Melbourne+Sydney is dense with frequencies and activity but possesses a remarkable stillness.
IVAN LISYAK – SOUTH WEST LINE
Ivan Lisyak’s South West Line tears flatlines of feedback from the carcass of a guitar to strip rock ‘n’ roll bare.
ALEX WHITE – GENUINE INSTABILITY
Alex White’s Genuine Instability is a series of complex drones and hung oscillations which fold in on themselves.
BEN BYRNE – DISPOSITION
Ben Byrne’s Disposition asks listeners to chart their own path as the music constantly emerges from and disappears into a mess of signals, actions and noise.
DALE GORFINKEL & AREK GULBENKOGLU – VIBRAPHONE/SNARE
Dale Gorfinkel & Arek Gulbenkoglu get up close to the mechanisms of their respective instruments with Vibraphone/Snare.