CATALOGUE

Matt Chaumont’s Linea is an album of sub-bass explorations of sine functions, difference tones and space.

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Dale Gorfinkel & Arek Gulbenkoglu get up close to the mechanisms of their respective instruments with Vibraphone/Snare.

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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.

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Alex White’s Genuine Instability is a series of complex drones and hung oscillations which fold in on themselves.

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Ivan Lisyak’s South West Line tears flatlines of feedback from the carcass of a guitar to strip rock ‘n’ roll bare.

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Matt Earle, Jason Kahn & Adam Sussmann’s Concerts Melbourne+Sydney is dense with frequencies and activity but possesses a remarkable stillness.

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Jim Denley’s Your Breath On My Lips mingles inside and outside into an astonishing intimacy.

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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.

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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.

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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.

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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.

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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.

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