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VicmodGraemeGerrard https://vicmodgraemegerrard.bandcamp.com VicmodGraemeGerrardEarly Pieces, released 15 December 20121. Proportions2. Discourse3. Passing Bright Mirror4. Birdbrain5. Anistropy (Lumps in the Gravity)6. Streams/Groups7. Variations8. Compost9. Slang10. Strings of Token Strings11. DisplacedProportions (1979)This is a “tape piece”. It uses 11 lengths of audio tape that are in the proportion of 1.059463:1 (or ) which is the proportion used in Equal Temperament tuning of adjacent semitones.I cut lengths of tape that were recordings of white noise, and rearranged them into an order or “set” that had interesting mathematical and musical properties, and interleaved these with recordings of silence, (blank tape), that were a kind of “inverse” of that duration set. This scheme was used to create the formal design of this short work.The other sound used is a cluster of chromatic sine tones transposed to different frequency ranges. I made a loop of the noise tape, which is one of the main sounds in the piece. The piece begins with this loop, which is played at faster and faster speeds to form the first section.I made a number of tracks of these sounds, using effects such as flanging, chorusing and reverberation, and mixed them while preserving the temporal structure outlined above.Discourse (1981)This piece contrasts sounds generated by an analogue synthesiser (Serge Tcherepnin modular synth) with a digital percussion algorithm.Passing Bright Mirror (1991)Using various programs I had written, I generated seven scores of MIDI data which I synthesised using a mixture of pitched and percussion sounds. I mixed these sections in different combinations and hand edited the result. Originally this piece was about 45 minutes long. I have cut it down and re-edited it several times for different events, including to accompany live performance painting in Bologna, Italy.Birdbrain (extract from Think Out Loud) (1990)This piece is made from samples of birdcalls I recorded at my home in Healesville, Victoria. It focused on spatial manipulation of the sounds. In live performance, as Think Out Loud, it used an additional 4 loudspeakers swung overhead by people using ropes about 2m in length.Anistropy (Lumps in the Gravity)This piece was largely made using a program that generated fractal melodies as MIDI data. It uses a synthesised digital jazz ensemble. The main idea was to bring random elements into orderly clusters, then allow them to drift apart into sparser, apparently random gestures. The title was a mistake – it should be Anisotropy, but at the time it appealed to me to leave it stand.Streams/Groups (1981)This piece was realised on the Serge Tcherepnin modular synthesiser. I was experimenting with how sequences of notes formed perceptual groups, and melodic streams, based on octave placement and emphasis.Variations (1982)This piece is a digital realisation of a technique used in bell ringing called Plain Bob Minor. It is a way of changing the order in which bells are rung, by exchanging the order of pairs of bells, until the order completes a cycle and returns to the original. I developed a kind of pitched percussive algorithm to synthesise the sounds.COMPOST (1983)This was the first piece that was generated by a composing program I wrote in 1983-5, called COMPOST. It began as a program that distributed notes in a stochastic manner, generating a score for digital synthesis, in this case using frequency modulation techniques to achieve complex spectra. This version was quite primitive and I had to run the program several times to create sections of the score.Slang (1980)I made this piece on the Serge synthesiser around the same time as Streams/Groups. It was performed live at the Adelaide Fringe Festival in 1980 with trumpet and tenor saxophone.Strings of Token Strings (1984)This piece was generated by a later version of the COMPOST program. By this time COMPOST was more oriented towards manipulating structural elements in a composition, using transformational grammar techniques. The sounds themselves were synthesised using a digital string algorithm that incorporated many elements of real string playing. Platform: Bandcamp Signup for Free. No Credit Card required. |
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Mem Davis Jillian by Mem Davis, released 06 October 2016 Platform: Bandcamp Signup for Free. No Credit Card required. |
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Animals Dancing https://animalsdancing.bandcamp.com Animals Dancing.Melbourne, Australia. Platform: Bandcamp Social links: 
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crocq https://crocqmusic.bandcamp.com crocqIn my life by CRocQ, released 15 November 2021 Platform: Bandcamp Signup for Free. No Credit Card required. |
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Faulkland https://faulkland.bandcamp.com FaulklandEP, released 09 October 20121. Madlibya2. Big Bird3. Abe Platform: Bandcamp Signup for Free. No Credit Card required. |
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Kallidad Merch from Kallidad Category: Arts & Entertainment > Music & Audio > Rock Music Platform: Bandcamp Social links:
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Jennifer Lusk https://jenniferlusk.bandcamp.com Jennifer LuskBetter Than Blue, released 14 April 2013 Platform: Bandcamp Signup for Free. No Credit Card required. |
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Kurushimi https://viakurushimi.bandcamp.com KurushimiReturn III: Death, released 11 November 20221. Return III: Death2. The Cold Light Of The MirrorArt As Catharsis is proud to announce the release of Kurushimi’s EP Return III: Death, the final instalment of the avant-grind act’s Return remix series.Return III – Death takes Kurushimi into new territory with a slew of guest performances on the record. Besides Doug Moore’s (Pyrrhon) rattling shrieks over the complex instrumentals, Matt Hollenburg (Cleric, John Zorn’s Simulacrum), Malikoth (Sanguine Tithe), M. Refalæða (Ukryt, Verëvkina), Noah Souza (Those Darn Gnomes), Gene White (Usta, Serious Beak), Marc Whitworth (Five Star Prison Cell), Michael Taverner (Gvrlls) and Simeon Bartholomew (SEIMS) all provide their varying talents to the EP. With Colin Marston on mastering (Krallice, Dysrhythmia, Gorguts), elements of drone and grind take the forefront in lieu of Kurushimi’s signature acid-jazz influences. The end result is a menacing display of riffwork as seismic droning riffs pulling the listener apart within a chasm of slow, heavily distorted madness. “The title subject ‘death’ was chosen for a few reasons,” begins bassist and conductor Andrew Mortensen. “The original base remix element was taken from Shinigami from the debut, which means ‘death god’. Then with my mental state, the blackness of the planet and all that, I just felt I wanted to call it that. I’d also been listening to a lot of Earth, Sunn O))) and Khanate, so I had the idea of adding guitars – and before I knew it, I’d added various musicians to the mix and had created quite the beast.”Running at a respectable 20-minute run time, title and opening track Return III – Death is pure, hulking carnage, created as a mutation of a smaller bass section from Shinigami off the band’s debut. Deep, distorted and slow riffs crack the earth around the listener, drums rip out into a gallop and abyssal vocals shriek out from beyond - creating a track drenched in Mortensen’s enthusiasm for ambient and drone. Following the track Return III – Death comes The Cold Light of the Mirror, an outtake from the band’s What Is Chaos? sessions. Retained due to the unique drumming pattern, the track is notably faster than the opener, yet still balances a fine line between sludgy riffs and pummelling tempo.“The subject of the lyrics is kind of a deliberate conflation or amalgam of all the malignant, self-replicating processes that seem to be running amok around the world these days, in both organic and digital varieties.” begins vocalist Doug Moore. ”I wanted to evoke the way that these feedback loops can appear actively malicious even though malice isn't a moral category that really applies to something without sentience like a chain reaction. Humans and the things we value are substances to be ingested and processed for utility to them, though suggesting that they have a perspective anthropomorphizes them too much. At any rate, this subject matter seemed to fit the instrumental composition's mixture of gradual dynamic change and twitchy iteration.”Although releases for the band come few and far between, Mortensen hints at the possibility of another full-studio album, along with a future instalment of the Return series. In the meantime, sink yourself into one of the most adventurous drone releases for the year with an EP so fierce, it shatters eardrums like glass in yet another accomplishment for one of Australia’s most complex heavy acts. Category: Arts & Entertainment > Music & Audio > Rock Music Platform: Bandcamp Social links:
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Eliza & The Delusionals https://elizaandthedelusionals.bandcamp.com Merch from Eliza & The Delusionals Platform: Bandcamp Social links:
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PINCH POINTS https://pinchpoints.bandcamp.com PINCH POINTSACACIA - BASSADAM - GUITARISABELLA - DRUMSJORDAN - GUITARpinchpointsband@gmail.comAU BOOKINGS: tom@newworldartists.netEU/UK BOOKINGSjonas@yayayeahmusic.ptPROCESS, released 18 March 20221. REASONS TO BE ANXIOUS2. STOCK IT3. COPPER4. AM I OKAY?5. HARUSPEX6. VIRGA7. KING RAT8. KOMPROMAT9. CAPITAL10. RELENTLESSLY POSITIVE**North American customers > Exclusive EIS Yellow Vinyl shipping from USAhttps://explodinginsoundrecords.bandcamp.com/The hotly-anticipated new Pinch Points album Process was recorded with Anna Laverty (Courtney Barnett, Nick Cave, The Peep Tempel) and is a momentous leap forward into full-force post-punk empowerment, with 10 songs engaging with the fractures in so-called ‘Australia’ -- from catastrophic bushfires, gendered violence, mental health struggles to First Nations incarceration and deaths in custody -- with clear-eyed directness, along with an uncommon nuance and empathy.As the album title suggests, Process is a commentary on structural collapse; the systemic failures and baked-in inequalities that are ravaging ecosystems, the mental health system, the gig economy workforce and all aspects of our lives. The title Process also recognises the emotions processed and channelled in the songs, as a collective expression of empathy and shared grief. A true collaboration, finding consensus from the experiences of four individual humans, Pinch Points embody music-making as an act of friendship and community, upholding the band’s shared belief in the music scene as a real-life platform for connection, strength and solidarity.Nothing is normal -- but PINCH POINTS are here. Platform: Bandcamp Social links:
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