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newweirdaustralia on 05/23/2014 at 10:18PM

Further tales from the Australian Underground: Black Pines, Mudlark, Motion & Gatherer

Dig deeper into the Australian underground with four new releases from the Wood and Wire label - Black Pines offer a ragged, psych-damaged lava-wall of ash and guts and glory; Motion erase improvised boundaries, merging avant-garde jazz and left-field electronics; there's an audacious leftfield avant-rock debut from Perth's Mudlark; and Gatherer offers ambient/drone pieces intended for the spaces between your headphones. 

WW27: MUDLARK Zimdahl

The debut release from Perth's Mudlark has already been dubbed as "bristling, vibrant instrumentals that prove antsy and unpredictable" by Mess + Noise, "a hard listening indie-jazz fusion cacophony that destroys your ability to think or reason" by The Music, and Cool Perth Nights concluded that it was "a weird riddle, a fascinating and deeply enjoyable mystery".  Pivoting between only two instruments, with no re-amping or overdubbing, Zimdahl aims for a truly accurate rendition of Mudlark’s unique sound in a live environment.


WW29: GATHERER Amoeba Miasma Void

Amoeba Miasma Void is the new EP from Gatherer - the solo project of Morgan McKellar, one-half of Canberra improv-noise duo, Cold House, formerly of Sydney band Underlapper and his now defunct solo project Morning Stalker. Manipulating (mostly) found-sounds from audio libraries, online video, and field recordings to create improvised sample-driven, Amoeba Miasma Void is a collection of four ambient/drone pieces intended for headphone use.



Black Pines is about dislocation. Two friends separated by real life, wondering out loud about how and why one whole side of rock history has evaporated. That missing side – the abject horror of psychedelic rock – is where this project lives. This isn’t a revival or pastiche. No jams. No art. This is criticism. // Ian Rogers (No Anchor) plays guitar and sings. Benjamin Thompson (The Rational Academy) plays guitar.


WW31: MOTION Syllepsis

Motion draws on experimentalism, avant-garde jazz, left-field electronic music and more. The result is music that deconstructs song forms, explores textural possibilities and is both hypnotic and immersive.  Syllepsis sees Perth-based multi-media artist, Kynan Tan join the band to aid in the creation of a collection of music where electronics and instruments meet in a constant state of tension and release.


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wmmberger on 05/02/2013 at 09:59PM

The Face You Made: Arvo Zylo Live on My Castle of Quiet

©Wm. M. Berger

Arvo Zylo's recordings and talents run the range from truly overwhelming, confrontational, and chilling, to thought-provoking. His experimental sounds are rooted in the 1980s Raplh/LAFMS/post-TG international "noise boom." Over many releases and collaborations, he has maintained a character of the unexpected, though one always wants to hear what that next sonic mask will be. In his other projects Blood Rhythms, Saint Street, and Mister Fuckhead, Arvo guarantees provocative listening, and the "catchy" or more-easily-palatable nature of the work will naturally come and go, giving way to the horror.

The cassette-and-CDr album 333, his recent split with Death Factory, and some of the live solo work he's done recently, under his own name and as Blood Rhythms, all stand out to me as experimental music of the highest order from an original talent.

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wormstudio on 10/09/2012 at 12:37PM

Marco Cher-Gibard

Marco Cher-Gibard visited the worm studio last summer and he came up with two tracks we just posted on FMA.

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natewooley on 06/21/2012 at 02:30PM

The League of Automatic Music Composers: Making Wrong So So Right

Tim Perkis, Jim Horton, and John Bischoff, the three key members of the great band and social construct known as the League of Automatic Music Composers

I went to Oakland in January of 2012 to interview the two remaining primary members of the League of Automatic Music Composers, John Bischoff and Tim Perkis.  I was mostly familiar with their solo work before starting my job at DRAM.  Tim is one of the greatest improvising electronicist in the US, working with John Butcher, Gino Robair, ROVA, and others.  Bischoff creates beautifully constructed, almost sculptural works of electronic sound. Although I had spent time with recordings of both of them, it did nothing to prepare me for the late 1970s work they had embarked on with Jim Horton and the LAMC.

The League was one of those rare instances where a group of people came together with no initial goal of production.  They didn't initially form to make recordings or tour. They simply wanted to see what they could do with a couple of early Kim1 computers and a mess of wires. Three guys seeing what would happen if you did the "wrong" thing, as Perkis put it in our interview.

This is the kind of group that has always inspired me.  I could be overly romantic and call it a bunch of guys in search of the truth, but that wouldn't even be it.  This is a group of people that weren't out for the truth, nor were they initially out to change music.  All they wanted was to see what happened if you plugged this thing into that thing. 

This may be hyperbole, but it's the "let's see what happens" attitude of these kinds of groups that DOES change the world.  That's totally exciting and something that I constantly hope is still deeply ingrained in the American psyche: the ability to give up the non-essential desires of producing anything but maintaining a profound desire to experiment.  It's what gets us somewhere as a culture and it's vitally important.

That is what the second issue of our quarterly journal Sound American is about, groups of people coming together to see what happens if they do things "wrong", be it the technological experimentation of the LAMC, the brutal honesty of the BSC and its desire to find a large group improvisational language, or the ability of Shinkoyo Collective to shift and change their business model during a time of great turbulence in the art world.

Sound American is proud to accentuate the work of these kinds of collectives, not only because they are interesting and inspiring as social collectives, but because their fucking music sounds GREAT!  If it was simply a group of people getting together to posit ideas on how they could approach extending the limits of what they do, or putting their ideas into a half-assed practice than it would be a pointless exercise.  With all three collectives, however, they have not only found different ways to communicate and operate efficiently as a group, but they've been artistically very successful, and that deserves praise and attention.

Please visit our new quarterly for interviews with members of Shinkoyo, a podcast of the interview with Tim Perkis and John Bischoff mentioned above, and excerpts of the great new publication BSC: Manual, as well as streaming "mixtapes" of the music of each group and the opportunity to donate money and get an individual subscription to DRAM (which now comes with some great gifts!)

Also, in that spirit of networking, follow us on twitter @SoundAmerican and like our facebook page

It may not change the world, but it's a start.

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elementperspective on 05/17/2012 at 12:55PM

EPV:BEYOND_004(bonus disc)''A CLOUD OF MAY'' free download

EPV:BEYOND_004(bonus disc)''A CLOUD OF MAY'' by +_free download!

this album is re:interpretation of elementperspective102''silence+''.

:: basic track ::

elementperspective102 / ''silence+'' / makoto masui


:: soundcloud ::

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