NEW RELEASE BOOK, Designing Sound For Health and Wellbeing by Brown, Grierson, Jelinek, Macarow, Samartzis, Weiland and Winter.
Designing Sound for Health and Wellbeing investigates ways in which sound and music compositions can ease the stress and anxiety of patients located in a hospital Emergency Department. The aim of this collaborative research project, comprising a team of composers, art producers and historians, writers, emergency medicine practitioners and health psychology researchers, was to test the function of environmental and electroacoustic music compositions especially produced for patients in the Emergency Department of St Vincent's Hospital Melbourne. The research and findings of this project provide new knowledge of the impact and use of sound and music in Emergency Medicine and the physical effect of sound and musical compositions on human health in general.
The DSHW book provides an overview of my recent doctoral research project and is saturated with photographs by myself and John Billan that capture the Emergency Department in a forensic-style. My co-authors are: Elizabeth Grierson, George Jelinek, Keely Macarow, Philip Samartzis, Tracey Weiland and Craig Winter.
[posted 11 April 2013]
NEW RELEASE LP, Sieve by Helium Clench
Shadows gather under cardboard where animal dreams and cello bows struggle to hold off electricity. Sounds of bells are rushed, entangled with rain, through measly slots between tightly crosshatched wires. This fabricates perforated fragments of seeing. These fragments adhere in the air to form a soft abrasive paper, fancied by the remote ones.
As a duo Tim Catlin and David Brown come together as ‘Helium Clench’ and boast long histories in the Melbourne and international avant-garde music world. Both have independently developed a fascination with microtonal sound through Catlin’s construction of harmonic overtone guitars and alternatively tuned metal rod instruments, and in Brown’s case through his explorations using the quartertone bass guitar. ‘Sieve’, their first duo recording is a studio-based project that amalgamates electroacoustic strategies, bowed objects and processed acoustic and electric instruments. Initial recordings focused on improvisational processes along with bowing of acoustic instruments and found objects, whilst other recordings utilized electronically processed electric guitar beds. All of these recordings were then subject to rigorous studio production techniques to shape the final compositions.
[posted 11 April 2013]
NEW RELEASE CD, Moonish by culture of un
Parched twigs muster fish with odd utterances. The hinterland lost in rattled strings scrapes through a season of make it up lunacy. The outputs of the wood-turners fashionings embarrass him, condemned to life as fossils, undiscovered till when? Reflective as wetlands, caught in stone and magnetic tape they pilfer each other’s constituents till unrecognisable to themselves.
A meeting of musical opposites congeal into an organic whole.
The tempered tonalities of Abraham’s piano mesh with the atonalities of Brown’s prepared guitar and utensils. Through concentrated listening and the implementation of conventional and extended instrumental techniques the resultant tones and textures pull at and morph into each other creating a mysterious sonic world, half here, half there.
With combined extensive histories in jazz, improvisation, pop and rock music Chris Abrahams and David Brown together are: ‘culture of un’.
[posted 13 June 2012]
New CD, candlesnuffer & Lukas Simonis - Nature Stands Aside
What is a monster? In a musical context…. it's either the most horrible noise you can experience or, is it a new version of “4.33”? But horrible noise can be turned down, and “4.33” is very bearable if you've got a good book (or “40.33” for that matter). Then there is 'Neoliberalism', it's supposed to be the natural order of things. Just ask Ayn Rand (if she were still alive) and her 'objectivism'. There's so much information in the world that tells us we're mistaken, we're failing miserably, we're doing the wrong thing because it's not 'natural', 'objective' or 'logical' (all of these?). And the main point of this indoctrination; the 5 billion people that never listen to anything, who are slightly out of touch with day-to-day reality, they must be right (they’re in democratic heaven, together with all those Elvis fans).
The ideas and concepts of the CD, ‘Nature Stands Aside’ are partly inspired by Rosamund Purcell’s study 'Special Cases'. But the inspiration came only after the songs had been assembled. How come? Well listening and making music is all a matter of timing and pace. Doing 'abstract' stuff and actually 'improvising' (even worse!) means “failing the best we can”. We might not see our performances as abstract at all, but to someone who listens to R&B and Hip-hop it must feel/sound like hell!
For some strange reason we revisited these recordings a year after they were conceived and we were very fond of what we heard. And also we saw, in reading Purcell's study of natural anomalies, obvious similarities that reflected ‘irregularities’ inherent in our sounds. Maybe nature is a subjective subject after all?
‘Nature Stands Aside’ shows us that too loud, too soft, no rhythms, no melodious structures, sounds in the wrong place, are concepts that have more to do with our fears than with reality" (Lukas Simonis).
[posted 24 June 2011]
New candlesnuffer CD - Mimosa
candlesnuffer’s “Mimosa” released on hellosQuare is a sequel to his previous Room40 disc “Wakool”. Initial recordings from the same sessions as Wakool were approached, almost uninitiated, in a vastly contrasting recording environment. An approach designed to extract surprising accompaniments from similarly prepared, stringed instruments. The resulting self-collaborations, in spirit, fuse literary references with mundane artefacts while evoking everything from the Australian coastal world and outback to a bizarre take on psychodelia, along with stoicism, astronomy, melancholy waste, urban ordinariness and beer-drinking. Underlying all this, treading water, is a naive fascination with Asian sounds. The whole, transforming tiny crap and ‘off the cuff’ responses into highly rigorous sonic conversations. Beauteous drive routed, clinging, through impossible combinations.
[posted 11 November 2009]