A weaving of voices, moments of pure connection, sibling influences. The Narrm/Melbourne-based drummer and composer discusses three important albums.
Liturgical lullaby, canine concrète, a chess game that never ends. The Chicago-based media artist and composer talks about three important albums. Olivia’s picks: Alèmu Aga – Éthiopiques 11: The Harp Of King David Beatriz Ferreyra – Huellas Entreveradas Morton Feldman – For Samuel Beckett Honourable mention: Kim Jung Mi – Now Olivia’s
ROOM40. If Fullman’s Long String Instrument can be likened to the sea – splayed drones that glisten and undulate, filling up the entire field of experience – Wong’s cello is a lone entity looking out upon the water, her bowed tones carving through the coastline on a slant, like the
BANDCAMP. INDEX: 1: 20 September 2018 2: 26 September 2018 3: 04 October 2018 1: 20 September 2018 Some harmonics will only emerge if the player is patient and gentle, waiting to be unlocked by a very precise gesture. Other harmonics are present instantly but reside at the deepest depths
There’s a point in this interview where Japanese artist Haco refers to her voice as being “see through” and “like mist”, which is perfect. In fact, the whole of Qoosui is driven by this tentative adherence to form, pouring guitars into basins of field recording and evaporated electronics, speculating
The rhythm persists. Despite the clangs of construction work just outside the window; despite an obnoxiously loud television pushing muffled voices through the wall; despite the dangerous wiring the causes synthesiser electricity to jump and skip as the voltage lurches around the circuit. Central to Tape 1 is a sense
Like most people, I discovered Norman Westberg through his role as guitarist in Swans. In the context of the band, Westberg’s input seems less concerned with establishing melody and more with furnishing the Swans landscape with objects and acts of nature: spurts of overdrive foam, wood-carved slopes of dissonance.