Saturday, March 14, 2009
8:00pm until 11:30pm
THE BORDERLINE BALLROOM
in association with the Audio Foundation
celebrates the release of the NZ audio compilation ‘Dirt Beneath the Daydream’
with performances by:
Greg Malcolm & Bruce Russell
with DJ I-Rory
Saturday, March 14th, 8pm
at Neibelheim (under SoFA Gallery, South Quad of the Arts Centre)
Christchurch artists featured on the ‘Dirt Beneath the Daydream’ compilation celebrate its release with an evening of performances that include collaborations between local legends Bruce Russell and Greg Malcolm, folk noise alchemists Richard Neave, Adam Willetts and LA Lakers as Grunge Genesis, plus solo work from audio trainspotter Stanier Black-Five.
Dirt Beneath the Daydream is a New Zealand compilation of sound organised by The Audio Foundation and curated by Honor Harger, Zita Joyce and Jon Bywater, given away to subscribers of internationally respected experimental music magazine The Wire with their February 2009 issue, as well as with issue 10 of New Zealand’s White Fungus art/sound magazine, copies of which will be available at the event.
Christchurch artists have a strong presence on the compilation, with tracks from LA Lakers, Demarnia Lloyd (with Stuart Harris), Greg Malcolm, Richard Neave (with Lee Noyes), Bruce Russell, Stanier Black-Five and Adam Willetts.
Greg Malcolm is has established an international reputation for his work with “solo simultaneously played multiple guitar performances” (SSPMGP) and his critically acclaimed releases. In his SSMGP, Greg uses no processing or effects (except a fuzz box occasionally), just a selection of guitars. Some are contact miked, some have extra strings and springs and things: one of these is at his side, one is played with his feet and one lies in his lap.
Richard Neave plays a noise guitar… or at least he plays the guitar in a noisily fashion, as well as an array of Japanese instruments. His work includes the solo album release You’re Not Welcome, on the Celebrate Psi Phenomenon label, as well as collaborations as part of the legendary James Last Appreciation Squad, CM Ensemble, Grunge Genesis and with Dunedin percussionist Lee Noyes, with whom he has recently finished an as yet unreleased album, UnRepent. Neave describes his approach as “trying to create an intensity of genuine expression that tries to circumvent or consume and override the contrivance and meekness of self-satisfied and staid song structures… although the gap between the intention and the result is often bathetic”.
Bruce Russell is an improvising sound artist, who since 1987 has been a member of the Dead C. This genre-dissolving New Zealand trio mixes rock, electro-acoustics and noise. He has also been active as a solo artist, and directed two independent labels, Xpressway and Corpus Hermeticum. He writes essays and criticism for The Wire, artists’ catalogues, and other publications. He is currently studying at RMIT towards a doctorate in sound in the School of Fine Art.
Stanier Black-Five’s audio work regularly fuses electronics with environmental recordings and found sounds: from mesmerising aircraft drones to the pounding rhythms of trains. As well as playing in New Zealand, she has performed across the UK and Europe, taking part in events such as the London Musicians’ Collective’s annual festival of experimental music and makes sporadic releases that include those on her self-run Argot Records label. She also writes on music and sound art for various publications worldwide.
Adam Willetts plays blissed-out noise pop using synthesizers to create rich, expansive fields of sound with a fragile yet propulsive sense of momentum, and through the sparseness of his approach allows space for subtle details and blemishes to drift into the foreground. Well known in the New Zealand noise and sound art community for his highly conceptual improvised work with self-sampling laptop, electromagnetic fields, wii remotes and other gamepads, Adam has been steadily transforming his practice since relocating from Auckland to Christchurch early last year, ditching his computer, picking up his soldering iron and building a less conceptual, more musical foundation for his work.
The Borderline Ballroom is a Christchurch-based voluntary collective aiming to provide a relaxed space for challenging listening, and a regular live venue for performative audio experimentation that supports local practitioners working on the peripheries of music and sound, while offering a resource for national and international performers touring New Zealand’s South Island.
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