Snowden (Eyes In The Sky) to be performed at the Dark Music Days Festival, Reykjavik, Iceland

My first international performance of 2015 is courtesy of Lindsay Vickery who will be performing Snowden (Eyes In The Sky) in Reykjavik, Iceland as part of his concert Silent Revolution at the Dark Music Days Festival on  January 30.

Described by The Times as “ever-diversifying… a hot ticket in a cultural hotspot,” Dark Music Days provides Iceland’s foremost platform for showcasing innovative and progressive contemporary music in Iceland. Established by the Society of Icelandic Composers in 1980, the festival places emphasis on premiering new and often experimental pieces that reflect the ever-growing diversity and creativity of contemporary music. The festival is today one of the most important festivals of contemporary music in Iceland, where the music of Icelandic composers blends with current events and renowned international music.


The program also features Cat Hope's Signals Directorate and four pieces by Vickery: Silent Revolution, Sacrificial Zones, Semantics of Redaction and ...with the fishes...

More information on Silent Revolution and the Dark Music Days Festival available here.


Cycle~ 440: The Topography of Ascending Frameworks

After a couple of years of live albums and one-off projects, Cycle~ 440 are very excited to see the release of our third studio album, and the final chapter in the constructions trilogy, 'The Topography of Ascending Frameworks'!

Featuring 'So we beat on, boats against the current', winner of the 2013 WAM Experimental Song of the Year Award, 'The Topography of Ascending Frameworks' has been released by excellent Sydney label Hospital Hill. If you're into contemporary electro-acoustic music be sure to check out the rest of their catalog!

The Topography of Ascending Frameworks marks the final instalment of the Constructions trilogy. A long form conceptual work that started with 2011's The Geography of Collapsing Structures and continued with 2012's The Cartography of Shifting Planes

Across eight immersive tracks, the duo of Sam Gillies and Kevin Penkin continue to hone their blend of spacious piano motifs, semi-improvised electronica and sporadic, deftly-treated found sounds. Walking a delicate line between ambient minimalism, cinematic soundscapes, glitch and modern jazz; Cycle~ 440 are less an amalgam of genres and more a singular exploration of colour. 

The Topography of Ascending Frameworks boasts a strikingly scientific title, but it is by no means a cold or clinical listen. It ticks forward with quiet, sanguine momentum, bubbles under its still surface, surges with warped strands of noise pitted against contemplative chords and seethes with ominous drones and unsettling oscillations. Every moment exudes a unique blend of granular detail and expansive landscapes.

Grab a copy from the Hospital Hill website here


Dinner For One Premiere

Louise Devenish will premiere a new work of mine for solo percussion Dinner For One at her DMA Recital on the 5th of December at the UWA School of Music. The concert includes a collection of pieces from other Australian artists including Graeme Leak, Anthony Pateras, Lachlan Skipworth, and Nigel Westlake.

Usually around about the time I reach a third draft of a work I have to throw it away and start completely fresh. Some might consider this to be disheartening but for me it’s usually a byproduct of some breakthrough which means that the piece finally has some direction and purpose. Dinner For One started with a simple exchange of ideas. Louise would take a draft and provide feedback to me as to what she thought did and didn’t work, while provided ideas of her own - a process made difficult through the filter of skype conversations and email. These multiple influences sat uneasily for a few drafts until I finally realised that I needed to get out of the piece’s way, and create a musical space for Louise to respond to the work in the performance itself.

There are two kinds of material in Dinner For One, notated material and instructional improvisation. In these later sections the performer must respond to the material they have just played in different ways. As the piece progresses the amount of time devoted to notated material diminishes inversely to the amount of the time the performer spends responding. The notated material becomes a focus point for the performers interpretation, a piece of history fixed at a moment in time amongst an otherwise permeable performance inevitably rooted in the now. A ghost at a table with one chair. 

For information available here.
Be sure to check out Louise's website to stay up to date on her work!


Snowden (Social Network) performed at Successor States 

My latest work in the Snowden project was performed recently at an installation of 32-speakers alongside new works from fellow Perth artists Kynan Tan, Stuart James, Steve Paraskos and Zach Corrie.

Snowden (Social Network) is a fixed-media work specifically designed for Steve Paraskos's 32-channel speaker setup of interlocking octogons of speakers.  

Earlier this year I put a call out to a wide variety of friends and colleagues on Facebook with the following instructions: 

Read from your social network profile. Use a clear, steady voice but be as natural with your tone as you like. State your name and the text on your information page. Include work, education, where you live, where you’ve lived, birth date, relationship status, about you, religious and political views, and favourite quotes. Include the title of the section. If no information is provided state ‘not provided’.

Snowden (Social Network) takes these recordings as the basis for much of the musical content in the work. Individual recordings are torn apart in a number of different ways across the work, shifting between obsuring the content to offering a clear-spoken broadcast of their profiles. Fundamentally, Snowden (Social Network) is an experiment in recontextualisation of social media information - what is the effect of taking personal information, willingly provided in one context and repurposing it in the medium of performance.

Snowden (Social Network) also marks my first adventure into the world of wave terrain synthesis, constituting the predominant, non-vocal sound material in the work. Wave terrain synthesis is the translation of a multidimentional surface into sound waves, "analogous to the rolling of a ball over a hilly landscape". The idea of traversing and deriving sound from three dimensional data planes is a good auditory reflection of a social network and the non-linear, hypertext-infused environment of the internet.

Snowden (Social Network) was premiered at the Pakenham Street Arts Space on the 31st October, 2014.



The Aura Implicit performed in Athens, Greece as part of the 2014 ICMC

My piece The Aura Implicit was selected for the concert program of the 2014 International Computer Music Conference. The performance took place in the, frankly stunning main hall of the Onassis Cultural Center (pictured as the audience was starting to filter in pre-show). The Aura Implicit was performed by Dimitra Triantafyllou, Ana Chifu, Marina Kolovou, Lindsay Vickery and myself on electronics. You can listen to the performance below.