“Improvised” (Used 36 times)
NickyCook on 10/21/2017 at 05:53PM
Adam died aged thirty years old on the eighteenth of April 2017
He was my first true love first kiss
my only my man my soulmate my sexy
a life changing romance as never before experienced forever no matter what stronger than strong itself
me and myadam
he is a dove
he is an angel
everyone who met him was humbled by his kindness and caring nature
he is not lost nor am i
for he is with God
and so am I
newweirdaustralia on 05/23/2014 at 10:18PM
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.
WW30: BLACK PINES Harsh Out
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.
TAGGED AS:australian underground, electronic, noise, improvised, electronic experimental, See More...
chrisandrews on 05/18/2014 at 07:55AM
beausievers on 04/25/2011 at 01:00AM
This Wednesday (4.28 FREE | RSVP) cellist Okkyung Lee will kick off her Artist-in-Residency at ISSUE Project Room with a free performance featuring collaborators Tom Rainey, Liberty Ellman & Skuli Sverrisson. In honor of the occasion, we’ve unearthed her duo performance with John Butcher from November 11, 2009.
Okkyung Lee and John Butcher’s improvisation can be read as an extended investigation of two strategies central to improvised music which are always in tension: frenetic processes, which create structure by harnessing and directing the physical energy of the performer across the instrument, and differential structures, which crystalize musical materials in memory. Lee’s playing is always set in motion, a flurry of physical activity which collides and interacts with the material form of her instrument, while Butcher’s playing is mercurial, sympathetic with Lee’s approach but never adopting precisely the same course. His choices are sensitive and antagonistic by turns, sometimes interfacing with Lee’s twittering machines and sometimes punctuating or disrupting their flow with interjections of pitched material rich with reference. Lee responds to these impositions physically, never letting her processes turn into a simple slipstream, but by pushing ground outward into figure, disrupting its borders. This performance makes audible the strain and stress of a physicality made subject to the grasping demands of memory.
John Butcher’s first set from this concert was shared on the Free Music Archive in 2009. John Butcher & Okkyung Lee's first set from the evening is below.