Each tune began from a single player, then slowly developed into a whole group improvisation, with a time feel usually initiated by drummer Peter Evans.  He was supported well by bassist Phil Waldron, who played mostly pedal-like groves once the drummer had established the time.

The first piece began with dark tones from the trumpet, starting out with identical attacks and similar lengths.  He developed this idea throughout the mid to low range of the instrument, slowly increasing the rate of notes, as well as mixing the tone colours from dark and powerful to uncentred and fuzzy.  Pianist Tal Cohen joined the trumpet with repetitive notes, allowing them all to resonate.   Evans then joined with various wooden clicks made by hitting the edge of different drums.  Guitarist Brett Thompson filled out the sound by using different effects to create atmospheric wind-like sounds, creating a dark palette for the trumpet to continue developing his tone colours.

After the trumpet allowed the guitarist to take over the colours, a rhythmic pattern was set up by Evans, and the piano immediately jumped upon having a pulse to bounce ideas off.  The ever-constant hi-hat click initiated a trance-like feeling to the piece.  The interaction between drummer and pianist was one of the many recurring textures the group would create through the performance.

The piece built to a climax when the trumpet re-entered after allowing the guitar effects to come to the fore.  Still developing the single note tone colour idea, the trumpet lead the group to many harmonic places, with tension built through piano, bass and guitar each playing their own harmonic ideas.  The drums drove the section with a combination of fusion, latin and open eighths ideas, all to the constant hi-hat click.

This structure of beginning with one player, slowly adding more players then releasing into a time feel was a constant between all pieces performed.  This became a little predictable towards the end of the second set, and perhaps the group should actively avoid this structure in some of their improvisations.

Overall, the two sets demonstrated a great level of musicianship within the group, especially the ability to interact and add subtleties to the compete sound of each piece.

   “Handmade Book” was the first of Rafael’s tunes and one which he was inspired to write through his own love of reading and absorbing literature. The chart was a slow, straight-eighth number which began with a syncopated ostinato which recurred throughout. Trombonist Tilman Robinson took the melody before it was split neatly and shared around the band in a polyphonic section which intertwined melodies and countermelodies effortlessly. Robinson then took the reigns again with a melodic solo, however more background material within the horns seemed necessary. When the backings did eventuate, it was too much, too suddenly. Karlen then lead the band into another colourful, polyphonic exploration of his melody and to end the tune, the syncopated ostinato repeated. 

   His second tune, “A Few Colours, Spread Thinly, Lingering” was inspired by an American artist who painted with a minimal amount of paint. Likewise, Karlen used sparse melodies over bars of eleven beat length to create the same effect. Even with the small amount of melodic material he gave himself to work with, Karlen created a chart which didn’t feel “underdone”. Dan Thorne’s tenor saxophone solo was complimented by some of the simplest and yet most effective backings, with the trombones and saxes interjecting with two beat chords every bar. The sparse, haunting melody returned to conclude the tune. Karlen’s study of this technique proved to be a source of some most enjoyable music.

   To conclude the set, WAYJO’s Composer’s Ensemble presented “Red Hill,” Rafael Karlen’s tribute to his home town in Queensland. The tune featured Marc Osborne on alto, Gareth Hughes on bass and Kerry Mitchell on guitar. On each side of the solos, Karlen presented his three part melody, beginning with an unsettled, canonic section, followed by a bridge which built irresistably towards the release in the form of a fanfare-like melody accompanied by a catchy vamp.

   Karlen’s music displayed a mastery of melody and orchestration, not to mention an unabashed attitude towards new techniques. It could be said that the three tunes were too similar in their dark, brooding nature, to represent an exploration of three different moods, but they were none-the-less, thoroughly enjoyable. He is no doubt one of Australia’s finest young contemporary composers.

Always representing Hip-Hop culture and keeping music true to life, when The Community represents they never cease to impress. Featured some of the best prog-hop and Dubstep Perth has to offer with Diger-Rokwell, yLEM, Maxabillion, L.S.D and Arms in Motion the night showed us what live music should always be about.

Unfortunately the Flying Scotsman had on at the same time Eskimo Jo so many people had to line up to get into the Velvet Lounge which was hardly full. This had no bearing though on the people who were already inside.

Diger-Rokwell set off the night with some original and funky Prog-hop to get the evening started. Classic Prog-hop at its best, Diger exhibits style and control over what he’s playing effortlessly. His originals keep you on your feet with odd vocal acapellas sampled over the top of real low down funky breaks. Everytime I hear what all of these guys have to play its great that they each have their own style of constructing sets. Its never just a matter of finding enough music to play for an hour. Each set you hear played by the artists at the community gigs is constructed in such away that your never given a chance to zone out of the listening.

L.S.D got up after Diger. This was the first time i had seen L.S.D live after listening to his tracks a couple of months ago. Its great listening to local Hip-Hop especially in Perth as much of the lyrics ring true. L.S.D’s rhymes focus alot on current social and political situations, his flow really suites what he talks about in his tracks yet his emotion never goes over the top which works perfectly with his beats.  We were lucky enough to experience L.S.D’s girlfriend also get up and back him up with some awesome soul singing along with Smiley MC. Often at these  gigs spontaneous things happen that exhibit exactly what the Community is all about representing local acts. Having artists come together like they do at The Community’s gigs is hard to find elsewhere.

yLEM was up next to roll out some deep dubstep. As per usual, his set contained many of his well known songs as well as some new tracks exhibiting some classic samples. All original, yLEM’s tracks deliver your mind to another place with their ambience and emphasis on sub bass. I think having yLEM play in the middle of the evening allowed everyone to relax. yLEM, much like Diger, shows much control in his choice of music to play, although all original, his sets are well planned out and brings forth a range of emotions in his audience.

To bring the beats back, next on the decks was Maxabillion with his usual assortment of classic old school hip-hop. Maxabillion presents at the majority of the Community gigs and always surprises with virtually unheard of tracks. Tonight he was playing some of his own original tracks. Laid back to say the least, his sets, like yLEM’s, show his complete control over the choice of track.

The rest of the show was given up to true hip-hop talent with L.S.D, smiley MC and Mathas, one of the popular community MCs, coming and sharing freestyles. Accompanied by two more soul singers, what started off with some of the top prog-hop and Hip-hop in Perth, ended as a presentation of true musicianship, something that is most sortafter in todays music scene.

On June 9^th, musicians from opposite sides of Australia came together to perform – while each remained in their respective state. In a pioneering live internet performance, music students from the Aletheia composers’ ensemble at the West Australian Academy of Performing Arts (WAAPA) and Brisbane’s Griffith University traded and altered each others’ sonic contributions in real-time. Also featured on the night were acousmatic works for headphones by WAAPA 1^st year composition and music tech students, and live electronic music performances by WAAPA students.

The Perth end of things was held at Spectrum Project Space in Northbridge. Upon entering the space, one first notices the concrete floors and plain white walls – a setting appropriate to a project space and to the noise performances to come. A couch with four sets of headphones playing the acousmatic works – about twenty in total – on loop was in the corner, available for interested (or bored!) audience members to listen to as they liked. These works, created from any number of found sounds the composer recorded and edited, aim to move the focus of listening from each sound’s source to the nature of the sound itself. A projection slideshow of several industrial photographs onto the couch set the visual scene for many of the works.

The room used for the performance of the live electronic works was lower than street level, giving the venue a fitting underground feel. A comparatively casual atmosphere to traditional concerts was welcome, with people free to roam around and drink the free provided beer. The performers were on the same level as the audience, and equipment was placed on two or three ordinary tables. Not the greatest presentation ever seen – but the audio produced more than made up for that. In each of the four corners of the room was placed a speaker, which made for a quadraphonic setup. In Aletheia, the audience was told that the back two speakers were Griffith Uni and the front two were WAAPA, but it was left unexplained as to whether ‘Griffith’ meant the raw sound Griffith made that was edited by WAAPA, or the other way round. Nonetheless, it was an interesting and well executed performance.

The second half of the live performances were individual or small ensemble works by various music technology and composition students from WAAPA. A large variety was heard, with some performances making use of the quadraphonic setup specifically, which was a treat, and some not. Nevertheless, each performance was unique and interesting – from pieces of metal being thrown on the ground to transfigured clarinet and guitar, to a no input mixing desk, to two purely computer based works, to experiments with delay effects, to the crowd favourite of David Boring – at least in the entertainment sense – whose performance included the transforming of pop songs.

One thing that could have been vastly improved was the level of excitement from some of the performers. Many simply sat at the computer, and it looked as they may as well have be hitting play on iTunes for all the audience knew. Performance is not simply creating sound, and in some parts it looked as though the performer didn’t actually want to be there at all.

The music itself, needless to say, did not suffer.

The event on facebook (including artist names)

    I had heard a lot of hush-whispered hype about Ben Martin’s Pianoforte finesse in the week leading to the show and I was really disappointed that I just couldn’t hear him playing. This was a real shame as he looked like he was performing with enthusiasm, and being relatively familiar with the work I was expecting a fair amount of intricate melodic progression through the piano, given that the pianist was featured as the ‘solo’ performer. The unfortunate effect of this, of course, was that the work itself felt hollow and lacking, despite the generally very high standard of performance. It saddens me to think that this issue could have been fixed were the venue appropriately acoustically altered or the piano just not jammed front-and-centre on a circular stage space, directed toward the exit and only half-open. Despite the inaudible soloist the general performance standard was really pleasing and the music was still enjoyable despite its intrinsic losses, though I was admittedly sitting in what can only be described as ‘crap seats’.

    Bearing this in mind I did enjoy the second half of the night a great deal more. The performance of Tchaikovsky’s Symphony No. 5, which fortunately did not feature a piano soloist, just felt more… complete. It was an energetic performance that was well-executed and sounded massive – the textural and dynamic control of the group was extremely tight. As an added bonus Peter Tanfield is just fun to watch – he always looks like he’s enjoying the performance and seems to subvert the usual pomposity or frivolity that other conductors exude - the orchestra actually paid attention to his directions and the resulting sound evidenced that.

All in all it was a pretty good show, and likely better executed than I can attest to – it was just unfortunate that the venue isn’t particularly appropriate to a group, or audience, of that scale. I’m sure that the Rachmaninov would have been infinitely more enjoyable had my allegedly nice seats been in the direction in which the piano projected, but I suspect that due to the ridiculous proximity of the piano to the audience it may have just been unlistenable for its shear ‘boom factor’ (that’s the proximity effect for you science types), but even the Rachmaninov was enjoyable enough. Their performance of the Tchaikovsky, while certainly making up for the lackluster sound of their Rachmaninov rendition, also demonstrated their value as a high-quality small orchestra. Well worth a night!

He is also reflected in the powerful high-end operations. On one occasion he auction house to see things very wow gold cheap, small bad to have borrowed 400 gold, on the night also had a hand-guided, 400 deposit into a 900 gold.

This matter a great source of inspiration to me, when I became green day learning objectives, the result is what I mentioned earlier that warehouse full of gold.

Following the outstanding question

Characters:

Area 6 small bad the blessings of the tribal chairman of the Statue of Liberty Master

Vested with a 6-ray tribal areas do not know what he will be the Master

DASSIGTT 6 District tribal wow gold blessing Knight Statue of Liberty

6 days, the main Green Restaurant tribal areas in which to forget he is the Master will

Acknowledgment:

Area 6 Knight the blessings of the Statue of Liberty Paine

After long journey has finally set foot on Hillsbrad hills, the first came to the neutral map, everything is so new, wow gold there are silver and not the same as on city, not the same as the castle, not the same farms, as well as The blood of a dark wizard. He has long ears, the eyes are deep, also distributed around the magic of life, magic is only part of our atmosphere, as hot as Kwangyang and his magic on the same quiet atmosphere, like the unfathomable night.

The first piece on the program was Gioacchino Rossini’s Domine Deus from Petite messe Solennelle. What was a rather weak opening was soon redeemed by a sincere performance of five songs from Schumann’s Dichterliebe. Jun was beautifully sensitive in his treatment of these. He created great contrast exhuding confidence in portraying both the tender and tormented sides of the protagonist. His childlike enthusiasm and joy had the audience in raptures in the third song, but undoubtedly the standout was the fifth. His powerful resonance filled the hall, violent consonants accompanying turbulent phrases to illustrate the irony of the title “I Bear No Grudge”. This was juxtaposed with soft melancholic lines which illuminated the subtext of Heines poetry.

The most convincing performance of the evenings so far quality entertainment were two Chinese songs. The first bearing the title “I Cannot Help Missing My Country” was rendered with such dignity and passion that it left the audience quite breathless. The second, “Motherland”, was extremely honest and free, with swooping phrases that begged the audience to follow him on his journey through a now war-torn, once beautiful China.

The evening ended with an aria from Bizet’s Carmen. Clipped phrases paired with an almost wheedling tone of the softer lines made for a charming, yet cheeky performance. Greeted with numerous encores, Jun Zhang was humble and appreciative, an invaluable trait for one with such a powerful talent.

Read more about Jun at www.haveagonews.com.au/entertainment.html

Review by Elizabeth Bonny

On a Wednesday night at eight o’clock I headed on down to one of my favourite cafes in Perth- the Moon Cafe - for a little bit of Australian folk and country style music performed by three different soloists. Seated comfortably under a lamp with chocolate cheesecake and ice cream on one side and my notebook on the other, I found that the whole setup was surprisingly good to review for two reasons. Firstly, the very similar solo performances enabled me to closely observe  the performers song writing capabilities-comparing ‘apples with apples’ instead of apples to oranges. Secondly, the fact that the performers were playing background music to patrons primarily concerned with the consumption of dinner, meant that the audience’s appreciation of the music was more genuine - they weren’t required to clap politely at the end of a piece they didn’t enjoy!

Divcraft

The first item was a local man titled Divcraft (from the band Lazy Railway). The country ballads for bass voice which he sung were faithful to the style and uniform in musical quality. Tension and resolution in the music was simple and sweet,  achieved through chord patterns such as I -V⁷-I which were played in a variety of interesting keys such as B flat major and A flat minor. The main problems with this performance were Divcraft’s vocal clarity and his initial nervousness during the first 3 or 4 songs, betrayed by the volume and even occasionally the pitch of his voice-the audience picked up upon this, and responded thinly to his music. However he managed to gain some confidence by the end of the set, really using the rich vibrato and power of his bass voice to add just that little bit more to the music.

Justin Walshe

The next performer was a man called Justin Walshe from an experienced Folk/Country band named the Justin Walshe Folk Machine. Despite some boring advertising interruptions for the Folk Machine’s  upcoming gigs, Walshe’s  performance was highly polished and professional; with clear vocals, the addition of a harmonica, beautiful fast vibrato perfectly suited to the style performed, and a quality acoustic guitar. However, most of Walshe’s songs as musical compositions dissatisfied me with their  mediocrity and length. For example, most of the lyrics were unimaginative and did not relate to the musical keys and chord progressions used. (There was only one exception - a piece called ‘Miss Whiskey’ in which Walshe personified a bottle of alcohol  as a woman.) As for the music itself, it remained within the conventions of  country/folk music in its simplicity, but became too dull when it went on and on without greater variation. As a result the entire item ended up boring  the audience witless, despite Walshe’s excellent presentation and professional manner.

Andrei

The third item, Andrei from the band Khankoband, was an improvement on the last with an honest performance of some beautiful original material. His singing and playing was rich in emotion; his stage presence confident yet humble at the same time - adding to the appeal of his performance.  Musically speaking there was enough variety in the chord patterns used to keep a listener interested; the many different keys the songs were played in added greater colour to the set. Only a few things let down the overall presentation; the lyrics were unintelligible 95% of the time (I had to move the video camera nearer to the speaker for any sort of clarity), and he had less of a singing voice than the second or possibly even the first soloist’s. All the same, by the end of his time on stage he had managed to regain the audience’s attention-no mean feat for a soloist in a busy cafe.  A lot of people (including yours truly) were left in a catatonic state after the mediochre second item!

As a whole, the Solo Night at the Moon Cafe was pleasant enough. It is worth going to if you are interested in guitar-accompanied, ballad singing folk and country singers; so consider yourself warned if you’re a person who can’t stand the  simple things in life!

The night opened with a different duo; a free improvisation session between Anthony Pateras and Jamie Oehlers. The pair played together well, creating a tense atmosphere which was occasionally broken by brutally loud sections rich with rhythmic density. Although at some points it was obvious it was the first time they had played together, once they became more comfortable with each other’s style the performance itself became more enjoyable.

Next up was Pateras’ solo analogue electronic performance. While I had came to see Pivixki, on some level the electronic composition Pateras performed spoke to me the most. Every little part of it seemed so well thought out, and the sound itself was phenomenal. I’d particularly recommend people to listen out for the end of the track, when out of the brutal chaos comes an incredibly soft, ambient collection of sound which was no less than the perfect ending to an amazing performance.

After a short break Pateras returned to the piano, now joined by Kohane on drums, the wild fusion of Kohane’s flawless grindcore drumming and Pateras’ unique style began. The fusion worked immensely well, and as an avid appreciator of all things metal, the familiarity of grindcore style drumming gave backbone to the performance and helped me to sonically digest Pateras’ intense and amazing piano playing. However, Kohane’s drumming wasn’t exactly normal. His drumming alone was very complex and exploratory, and the pair achieved great leaps in dynamics; from soft textural murmurs to room-shaking blast beats and dense clusters. Pivixki gave an amazing performance; immensely exploratory, powerful music delivered with great precision. Now they just need to play at a venue with more room for headbanging.

They all entered wearing no shoes, which I thought was I nice idea; it helped the ensemble feel more comfortable with the environment. The fantastic thing about the way it was performed is how Michèal allowed the ensemble to freely walk around the room. The 4 parts of the canon were therefore heard from all directions. I was pleased with the fact that Michèal also allowed the students to introduce the pieces; the only downside being some of them forgot what they were meant to say. The following pieces after the introduction were commendable but not memorable. In other words they were good, and enjoyable, but not fantastic; not as interesting as the introductory piece. The quality however soon improved with the inclusion of a string octet. The strings were very gratifying and gave the performance much greater depth. Yet I question their worth in only playing one piece considering the amount of time it took them to set up and pack away. My favourite piece they sang was one of their last. It was a very catchy tune that obviously had the audience smiling and interested. My only problem with the piece is it was very repetitive and could have benefited from some contrast. My wish was soon answered, to a certain extent, with a typical ‘pop’ key change, raising a tone. With the new key brought new energy, grabbing the audience’s attention again. The piece soon changed key again but was this time met with uncertainty as the ensemble wasn’t quite sure about what they were doing. However, they soon recovered with the help of Michèal, to finish off the piece. Despite the slip up towards the end, the performance was received very readily. The ensemble then concluded similar to the way they began. They sang a 4-part canon as they walked up the stairs, exiting through the main entrance of the music auditorium.

Overall it was a warmly received performance especially considering the ensemble predominantly consisted of students new to the academy. I commend the ensemble on their efforts and especially Michèal for his development of the group; I continue to be a big fan of his work and teachings.

Paul Tanner

The evening began with  “Ougon Badagris” (1976) by Chris Rouse, an intense performance of Haitian drumming depicting a scene one of the most horrific voodoo rituals, human sacrifice. Despite its connotations, the audience was transfixed by the strength of these players, pounding at some of the larger and louder instruments in the percussion section. As the piece drew to its conclusion, the performers were required to shriek “reler” (meaning ‘Amen’) to the audience, above their drumming.  It was a great start to the evening and the ensemble to be commended for their execution of the piece.

In every Defying Gravity concert there is at least one quirky piece in which the percussionists can showcase their showmanship skills, and the fourth piece of the evening Manfred Menke’s “Eine kleine Tischmusik” (1991) did not disappoint. Four members of the ensemble wildly ran down the aisles of the Music Auditorium to the stage with a wooden spoon in each hand, much to the surprise of the audience. The piece depicted a scene of ill-mannered dinner guests impatiently waiting for “Dinnertime!” and required the quartet to strike the tables provided with the wooden spoons, bringing out the rhythmic and timbral qualities of the two mundane, and quite ordinary objects. Their synchronicity was not perfect, but it was still highly entertaining to watch, as the spoons splintered across the stage.

The highlight of the evening was the performance of Tanner’s original compositions in which Tanner lead the ensemble. One of the pieces“Back in 1516” (1993) did not refer to a year but rather to rhythmic puzzles that were being explored. Tanner writes that in “Back in 1516… the tune appears over’s a funk accompaniment with one shortened beat at the end of the bar, creating a little hiccup”.  “Back in 1516″ created a challenge for the ensemble as the performers would not be playing in unison for the majority of the piece. The piece called for great musicianship, in which Defying Gravity excelled.

The concert was highly enjoyable and highly entertaining and is a credit to the musical director, Tim White. It is a pleasure to see an ensemble perform to such a high standard as well as enjoying themselves. I definitely recommend people to watch out for the next Defying Gravity concert.

Defying Gravity

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Tura New Music’s ongoing series continued in fine style with its 82nd show, an intriguing combination of improvisation, electronics and interactivity. Once again, Club Zho maintained an astonishing level of ingenuity and artistic exploration that it has provided throughout its long history. On this night, the event was situated at the prestigious and new Ellington Jazz Club, which provided a great stage and setting, close and intimate for performers and audience to jointly enjoy a night of new music.

Lindsay Vickery is a stalwart of the Perth electronic music scene, a world-renowned musician and an inspiring improviser. His brief set featured two pieces arranged for bass clarinet/soprano saxophone and laptop. Vickery’s works displayed a transient nature, his extended techniques on both clarinet and alto saxophone rapidly moving between extremes of pitch, while his laptop processing constantly shifted, providing a channel of interaction.

His improvisations focused on timbre and rhythm, generally sounding atonal but occasionally harmonised tonally with electronic playback. The electronic component consisted of delays, modulations, pitch shifting and looping at various tempi. Constantly changing, the electronics were used to great effect as an intelligent reactive machine and provided a constantly fresh and inventive backing for Vickery to control, and to interact with, as an improviser.

Vickery’s second piece was a version of Earle Brown’s December 1952 and included recordings of Brown speaking about his piece, as Vickery electronically manipulated both Brown’s voice and his own live saxophone parts - a strong interpretation of an open work. It struck resonances with Brown’s more modular works, with different musical ideas (held dissonant chords, fast delayed notes, slowed voice playback) being utilised, but ordered by random.

Colonel Mustard’s Famous Audio Visual Show is the solo work of Jonathan Mustard, incorporating audio and visuals as well as performance. Mustard plays a variety of instruments, generally utilising one per work to control and interact with computer-generated visuals.

The opening piece set a definite trend for what the Colonel’s show (in the words of Tos Mahoney, director of Tura New Music: a ‘great, whimsical, entertaining and sometimes provocative event’) aims to provide. Polyoctagon no.1, a ‘vocal piece for keyboard’, was made up of samples of vocal phrases that each had a corresponding video section. Beginning with a single repeating sample and then adding more and more layers, Mustard controlled the audio and video with a MIDI keyboard controller. The performance was musically interesting due to the textures, harmonies and phasing created between voices. The video comprised of computer-generated heads that emotively sung each line, the ‘audience pleaser’ being the group of what appeared to be African men singing a particularly low choral sample.

The following pieces Pizzicato and Fragile Playground for flute, and Bully and Whistles and Bells each explored audio-visual relationships, with the particular sounds evoked from the wind instrument pushing the video along or manipulating pre-imagined video. The layers of sound and video for each of these pieces created a very enjoyable viewing experience, as the listener could try to wrap their brain around the specific relationships occurring, or simply enjoy the pieces for their auditory and image creativity.

The video comprised of computer-generated female and male forms, which were trapped somewhere between being synthetic and life-like - a grey area which I found to not have much weight. The movements in Pizzicato were very formulaic and structured, which was effective, overall however the continued use of these characters was not as impressive as in Mustard’s previous dance collaborations with Chrissie Parrot, where the figures served as a contrast to live dancers.

Later pieces included a hilarious work of samples, triggered by the MIDI keyboard, that would rapidly change the image projected on screen to an image of the Colonel playing that particular instrument. The barrage of winds, chimes, jaw harp and brass was rapid and frantic, but the images were lighthearted and amusing.

The strength of the Famous Audio Visual show is its ability to draw the viewer in with the interaction of sound and video. The attention to detail in the audio sculpting can be overlooked if too much attention is paid to the visuals. Mustard must be commended on his show that is entertaining, yet provides carefully constructed musical ideas, compelling relationships between audio and visual and a performance that is constantly amusing and thought-provoking.

As an extra treat, the ‘extraordinarily unplanned’ duo of Anthony Pateras and Lindsay Vickery took to the stage for an improvised set of piano and winds. Anthony Pateras is a beast of improvisation, creating layered textures of speedy piano notes and chord clusters, resonating the piano to produce clouds of sound. Vickery’s wind playing is equally inventive, extracting seemingly impossible sounds from his reeds, and utilising great dynamics to create an impassioned performance. The set was frenetic, with Pateras beginning with sheets of sound and clusters of notes, and Vickery following suit.

If improvisation is the ‘regurgitation of one’s old habits’, then these two musicians have some incredibly intriguing habits. The impromptu nature aided the performance. The dynamics shifted and swayed but overall there was an incredible interplay between the two, allowing for space at times but at other times simply creating massive, rapid fire sounds which filled the room and demanded attention.

Club Zho 82 delivered yet again with a night filled with NEW music, that being music that is improvised, creative and exploratory. Each act of the night found different ways to create these effects, but each featured fresh and exciting instances of improvisation, interaction and musicality. Kudos must be given to Tura New Music for consistently putting on shows that combine many elements of ‘new music’ yet are always a celebration for new creations and different sounds.

Event details

Club Zho 82 presented by Tura New Music Lindsay Vickery Colonel Mustard’s Famous Audio Visual Show Lindsay Vickery + Anthony Pateras The Ellington Jazz Club, Northbridge, Perth, WA

Further links

Jonathan Mustard - AMC

Anthony Pateras - AMC

Lindsay Vickery

Tura New Music’s Club Zho

Defying Gravity, the Western Australian Academy of Performing Arts student percussion ensemble with special guest Paul Tanner performed one of its trademark breathtaking concerts in the Music Auditorium at WAAPA on the 5^th of May. Featuring a wide variety of music ranging from Cuban, to Haitian Voodoo ceremonial music, to percussion masterwork Peaux by Iannis Xenakis, the ensemble provided an entertaining evenings viewing.

Rarely do you see, in classical circles, a group of musicians who are so enthusiastic about performing and making excellent music. This genuine enjoyment in performance takes the music and the audience to a higher level. Their enthusiasm was prevalent in all the works they performed, from the opening notes of ‘Ogoun Badagris’ by Chris Rouse, based on a Voodoo blood sacrifice, followed by ‘Stubernic’, by Mark Ford, a trio piece for marimba with cajon ‘box drum’ and congo. Up next was the first piece by guest artist Paul Tanner, ‘Home By 11’ for marimbas and unpitched percussion, exploring the use of multiple time signatures for different instruments at the same time in a very funky way. Now came one of the more entertaining pieces of the evening. ‘Eine Kleine Tischmusik’ or ‘A Little Dinner music; by Manfred Menke was a wonderful piece for four percussionist using wooden spoons, tables and the floor. Pounding rhythms, stomping feet, shattering spoons and dinnertime mischief kept the audience greatly entertained. Finishing up the first half was the second of Paul Tanner’s pieces ‘Guaguanco’, utilising the traditional rhythms of the Cuban Rumba with unpitched percussion and solo conga with the tuned instruments coming part way through with a rousing salsa chorus. To ecstatic applause the players left the auditorium and the stage was set for the second half…

… ‘Sprint’, Rob Smith, a frenetic piece on the mallets, suggestive of a running race and including the panting and breathing of the athletes… percussionists. Next was Peaux , the 1^st movement of Pleiades and considered to be one of the masterworks for percussion, beautifully performed here. Xenakis’s own quote from the concert program beautifully sums up the idea of the piece.

“In ‘Pleiades’, “the primordial element is rhythm… the sole source of this polyrhythm is the idea of periodicity, repetition, duplication, recurrence, copy, faithfulness, pseudo-faithfulness, unfaithfulness… leading to notions of clouds, nebulae, galaxies of the fragmented dust of beats organised by the rhythm… sweeping the listener up into it’s whirlwind, carrying him as if towards an inevitable catastrophe or to a contorted universe.”

Not the easiest piece to listen to, but certainly the most rhythmically complex, this piece showcased the amazing talent of the Defying gravity percussionists.  Following this was another of Paul Tanner’s works ‘Back in 1516’. Then came the most unpercussion-like percussion piece in the concert “A Little Prayer’ by Dame Evelyn Glennie, a beautiful soft hymn played by mallet percussion and crotales. This piece showed the beautiful soft side of percussion with amazing swells and sustains, a complete contrast to the jarring polyrhythms of ‘Pleiades’. The finale of the concert was the last of the compositions by Paul Tanner, ‘Cuba’, based on the traditional Cuban Son or Salsa style. Starting with traditional clave patterns and building on with unpitched percussion followed by a surprising rendition of the songs montuno (melodic riff) on pitch pipes then launching into an all out salsa groove on all the instruments. Frequent solos on a variety of instruments moving onto a rousing finale led to a wild and sustained applause from an ecstatic and thrilled audience.

All in all, a fantastic display of musicianship and absolute enthusiasm and passion for percussion music.

Mark Bradstreet

WAAPA - 28/05/09

The concert ‘Russian Romantics’ was performed by the Faith Court Orchestra in the WAAPA music auditorium as a tribute to the works of Sergei Rachmaninov and Peter Tchaikovsky. Unfortunately as I arrived at the concert literally seconds after the usher had closed the doors for the beginning of the concert, I was refused access until after the intermission! Even though the performance was not to start for several more minutes! Never the less I had to strongly disregard my initial thoughts regarding the concert at that time and hit the second half of the concert with an untainted optimism. So as a result regrettably I am unable to ‘comment’ on the performance of concerto No. 2 by Rachmaninov as I did not view it! Sorry Ben Martin! (Soloist) – Though I’m sure you were great!

When I entered the concert room before the commencement of the ‘second’ part of the concert, there was a mixed sense of casualness and anticipation. The crowd entered and settled, and the performers entered the performance space to take their positions. It felt pleasing to see many of the first performers coming on stage enter in such a casual and relaxed fashion. The piece to be performed was Peter Tchaikovsky’s Symphony No. 5 in E minor Op.64. Conductor Peter Tanfield entered and was welcomed with a fairly generous applause.

The piece began and was a surreal experience of textual and dynamic excellence. The initial light relaxed tone that was produced early during the first movement by a select group of string players along with the clarinet soloist was a warm welcome to the second half of the concert. The controlled dynamics and instrumentation that was executed early in this performance was the perfect preparation for the enormous sound that the orchestra was still to produce. The entire orchestra though notably the entire string and brass sections as a combination packed an enormous punch once fully uncovered, which was very confronting and satisfying at the same time!

Conductor Peter Tanfield was hugely animated throughout the piece, it was impressive to watch! Though in some regard with his eyes closed and head down sometimes in expression he may have had slightly less control of the orchestra, though regardless was entertaining. To my amusement I also spotted several front row violinists smirking at the expense of their very own conductor, who looked at that point as if he had just run a small marathon and was attempting to regain composure before entering the next movement. Jokes aside..! - Notably the first clarinet and first trumpet sang there instruments beautifully, and executed there solo parts with style and quality sound. In summary the overall sound of the orchestra was great, and I look forward to hearing more Faith Court!

 The next Faith Court Orchestra performance is documented to be during August 2009, for more details visit http://waapa.ecu.edu.au/events/events_category.php?category_id=0000000001 

 By Ellie Cumming

Burswood Theatre 28 April 2009.

The Sun Herald called it “Big, Noisy and Irresistible”, The New York Times labelled it as “A Sure-Fire Crowd Pleaser.” And it certainly was all of that. The performance started off with amazing rhythmic sweeping of brushes and carried on from there. The program was not lying when it stated that these amazing artists (who are trained percussionists, martial artists and dancers!) were using everything they could get their hands on. From plastic bags, to MacDonald drink cups and straws, to garbage lids, lighters, plumber’s plungers and even the infamous kitchen sinks- filled with water, of course.

Not only was the timing and rhythmic content of the entire performance tightly executed but their was witty, comical displays going on between the easy-going characters to give our pulsating ears a break. But how did this worldwide show even come about? The creators, Luke Cresswell and Steven McNicholas were street performers, who devised a piece for the 1983 Edinburgh Festival. This in turn evolved into a British TV commercial for non-other than Heineken Beer in 1986. By 1991, the full-fledge Stomp premiered in Edinburgh and has since developed into five companies set around the world who tour constantly. The show is set-up very cleverly with no interval, which was a particularly good idea as there was no feeling of stop-start and the audience were completely enthusiastic and enthralled the whole way through the 100-minute show.

Not only is there rhythmic excitement from the percussive noise and enjoyment from watching these physical comedians, who do not utter one word but use their entire bodies to make us laugh and stare in awe- but there is visual spectacle when, four of the eight performers pull on wires and clamber up the junkyard set onto the wall, where they hammer out a literal wall of sound on pans, exhaust pipes, wheel rims, fire extinguishers and road signs. Stomp is a spectacular performance that all who can should take the opportunity to see.  As Stephen Bevis so perfectly states- “At one level, Stomp is sheer good fun and occasionally exhilarating but it is also a reminder of the human ability to find rhythm and beauty in anything, even in the apparent ugly detritus of the throwaway society. This art of noise turns the humdrum into the drum-drum.”  

To Book STOMP tickets please visit- http://www.stomp09.com.au/

To see snippets of the show please visit- http://www.youtube.com/watch?v=Zu15Ou-jKM0 

On Wednesday 6th May 2009, I attended the performance of “Beats and Pieces”, performed by the percussion ensemble “Defying Gravity” (run by Tim White), comprised of musicians from WAAPA and UWA.

The ensemble put together a variety of different pieces to perform, as well as having the privilege of performing pieces composed by Paul Tanner. These pieces ranged from intense drumming, melodic patterns, to soft and sweet marimba and chime effects. I have to admit, the pieces that I loved the most were “’Peaux’ from Pleiades” by Iannis Xenakis, and “A Little Prayer” by Dame Evelyn Glennie. Both of these pieces struck me in a different way. The Xenakis piece was body moving and easy to feel the beat, where as the Glennie piece is very similar to the style that I write in myself, and closely resembles a song that I wrote for my cousin who died when he was very young.
The different types of percussion used in this performance consisted of marimbas, bongos, drum kits, bass drums, xylophones, desks, chairs, timpanis, cymbals, snare drums, a box, chimes, gong, metallophone, tenor drum, wood blocks, claves, and wooden spoons. Not all of these instruments were used in one piece, but over a series of 10 pieces. I have to say, the chosen instruments per piece, was magnificent. The energy and enthusiasm captured the audience and was enjoyable for every person there.

Guest composer/performer Paul Tanner has written many pieces of music for percussion ensembles. His inspiration for his pieces have come from travelling around the world and seeing various things, as well as learning the cultures and traditions of different countries. There was a specific composition of his that really stood out to me, and this was “Cuba” (1993). The way it was staged and produced was amazing, and what made it more enjoyable, was to see everyone around me getting into the groove of it.

Each time I have seen Defying Gravity perform I have never been disappointed. They have the passion for music and feel what they play from their heart. I will have no hesitations to go and see them perform at WAAPA, or anywhere else in the future.

Here are a few pictures taken from the performance, plus a picture of Tim White who is the direct

You can find Defying Gravity at: http://www.waapa.ecu.edu.au

Nails of Imposition opened up the show with their boring attempt at technical death metal, however given the nature of the perth metal scene they received all the moshing they needed. Following them were the much more upbeat Neverborn, filling the room with thrash style riffs and a nice addition of keys and piano. Shortly after were Noctis, who were very progressive in their music writing, if by progressive you mean sounding like Katatonia and Opeth at the same time, and just to support that case finished off with a Katatonia cover.

Ending the show were the world wide known Voyager. After having completed 2 european tours they have gained quite a cult here in their home town of Perth. Their music is a combination of metal and rock, with occasional progressive influences,  a perfect concoction for those “metalheads” who like to jump around and have a little dance to their happy melodic metal. Having said that, their musical execution was almost flawless, and it’s nice to be able to listen to a metal band with a frontman who can actually sing.

All in all, the night was nothing spectacular, just another perth metal gig.

Voyager: http://www.voyager-australia.com

Noctis: http://www.myspace.com/noctisaus

Neverborn: http://www.myspace.com/madnessmyfriend

Nails of Imposition:  http://www.myspace.com/nailsofimposition

To launch the album “The Lost Chord”, exploratory bass noise group Abe Sada, fronted by WAAPA lecturer and course co-ordinator Cat Hope, invited 25 Perth bass guitarists to join them at Sound Spectrum in making some noise. Audiences were separated from the performers by Spectrum’s glass windows and locked doors. As the strength of the groups ominous bass drones increased this barrier looked set to crumble (as had been hoped for by a couple of participants during the set-up). But unfortunately, when the piece was over the glass barrier remained intact. The textures created by the group were dense and varied, where no one person carried the burden of creating a majority of the sound, and yet the gradual reduction in players towards the end of the piece made for a noticeable difference in the sound with each departure. While the sound from outside Spectrum was reportedly less clear than inside it, brought about by the buffering effect of the glass windows, it was none the less an impressive exploration of the sonic possibilities of the bass guitar.
Abe Sada were supported by Perth acts ‘These Shipwrecks’ and ‘Injured Ninja’. ‘These Shipwrecks’ utilised an appropriately exploratory sound for the evening, with the band featuring electric cello alongside more traditional “rock-band” elements. The addition of electric cello gave ‘These Shipwrecks’ sound a degree of subtlety, which made their music constantly engaging, alternating between sparse and dense textures with a psychedelic rock feel, before ending the half hour set with an inspired and appropriately heavy finale.
‘Injured Ninja’ closed the night in an impressive noise-rock fashion. To the projection of rapidly distorting film clips taken from “Willy Wonka and the Chocolate Factory”, the music and the film complimented one another intrinsically. The sadistic nature of the film was brought out through the sort of primal, pummelling beats only capable with two drummers, while electronic and guitar textures added an appropriately nihilistic flavour to the evening. While ‘Injured Ninja’ allowed space guitar and electronics to come to the forefront at different times throughout the set, it is a credit to their abilities that they were able to keep their intensity throughout the entire length of their 40-odd-minute set. If nothing else, the evening proved that Perth punters who are looking for a worthwhile alternative to Friday night cover bands and annoying indie scenesters still have a viable alternative.

Abe Sada’s MySpace can be reached here.

These Shipwrecks’ MySpace can be reached here.

Injured Ninja’s MySpace can be reached here.

Photos courtesy of Clare Pannel.

The Club Zho on April 7th was held at the brand new Ellington Jazz Club, featuring the new project Pivixki. Pivixki combines pianistic density of Anthony Pateras with the virtuosic grind drumming of Max Kohane (from Agents of Abhorrence). They are the perfect treat for those who like fast, daring and very, very loud music.  

 The night began with two free improvisations from Pateras together with renowned saxophonist Jamie Oehlers. The performance was highly interactive and the two musicians seemed very complementary to each other. Both very motivic in their approach, Oehlers concerned himself primarily with melodic ideas that often implied tonality, while Pateras created an array of textures, wholly tonally ambiguous. The performance was hallmarked by an absolute commitment shown by both musicians.  This performance gave a glimpse into Pateras’ favoured piano techniques that would re-appear later when he played with Kohane. Among them were random and aimless meandering notes; dense clusters played percussively, often in the extremes of the piano range; striking a group of keys with one elbow whilst continuing to play with both hands; and a fast chromatic tremor effect created by both sets of fingers “crawling” over a small range of keys.  

After a set of Pateras’ electronic music, which warrants another review altogether, Pivixki took to the stage. In another highly committed performance, Iannis Xenakis met hardcore. Recurring themes included high-volume hits (cymbals from Kohane, clusters from Pateras), rapid piano phrases accompanying high-speed grind drumming, tonally ambiguous riffs married with heavy rock beats and some serious head-banging. There were quite a few quieter moments interspersed with the commotion: soft textural expeditions and some deafening silences. These gave the pieces shape and interest.  

Check out Pivixki’s music at www.myspace.com/pivixki - you won’t have a dull moment while they’re playing.

He turned to leave the chaos sanctuary, every step will be pushing with the footprints left by a green flame. He was about to open the door to the haven of chaos, suddenly, into a number of knights from the outside. wow gold Warlock empty desolate eyes in the slightest with the exciting flash. Warlock was about to say something, a sharp knife punctured his heart.

“The world does not need you, the devil!” Wizard does not too surprised, he just fell on the heavy ground and watched the Cavaliers turned away, with himself: “This is my destiny? Ancestors!”

outside the city, the mountains, a small old house, I was scared of the nightmare of a sudden woke up, sat in bed with breathing: “Damn, is this dream.” At this time, like a came the voice from the bedroom door: “ancestors, wow gold the food, and when you want to sleep?” older sister’s voice is still so good. My sister is a blood wizard, I was a Orc, and God knows we have become so siblings, but very little in my time, I have memories of the “sister.”

Sister has been very nice to me, though, we were very poor, but had a happy day, I often secretly vowed, after the money, we must allow her a better life, no longer had to suffer. At this time, sister had been

leveling into the inside of my room and see the shock, I immediately ran over and I took a huge hand: “ancestors, the nightmare you have to do it, no, I have to go City Lane take you to see a doctor.

Friendship link
 http://internet74.com/rebbwwe/
 http://frewewr.diblogotus.com/
 http://mamati.anarchyblogs.com/2009/04/14/possible-costa-rica-is-not-so-out-of-date/ Lei force also poured a smoke, “and so on will be scattered along Wanggezhang Sub I went to the personnel, staff from the woman’s license registration form know her name.” I give him points, “Contact, the ah this is the key. ”

Lei forced out of a light smoke, wow gold sip a, “there is no phone number, contact the plane at home, only a number is also.” Nodded my heart that this girl quite high vigilance.

Land outside this time has been gradually added to the Shanggong, I immediately asked Lei force, “said a long time wow gold I have heard of this and you understand what contact.” Lei force things to the table more or less to clean up the look, head bowed, said, “I have to improve at least the first mobile phone, or future plans are passive. I added her, chat for a few days, generally aware of her fans very because one of the basic aspects of the game, not how her back. Later, I could not help but asked several of her mobile phone number, and have been her, “said Lei forced to see stopped, I Access Road, “that is to say you will, at best, is a Netizen?”

Lei force shook the phone a look of pride, “it in there.” I am a little surprised at the question, “come from?” Lei force picked up the package, the face came up to me around the said, ” a bet, this is the prize. noon wow or meeting and so I came back I feel will treat you to dinner, as Jimmy had the AK. “patted my shoulder and saying ,” as soon as possible to help Colombia fight over Illidan, or as soon as possible Costa Rica is not so out of date. “

More
My Friends
Friendship link

Summed up the general treatment of how to enhance the capacity of relevant content as follows:
First, the mentality and attitude
Second, natural
Three treatment methods
Four, back to blue means
Friday, plug-ins
VI, property and equipment selection
Seven, for a copy of Learn
Eight other

Association found that because of the new pastor came in a few copies of the treatment volume and treatment practices and talent led to question the treatment volume has been in the doldrums, so had to write some. his paste can be on a number of new occupational therapy ROLL help of a friend, then also a good balance, even for their own future career after REROLL DPS can also give an account of their sentence: I was also once the treatment.
As for the old pastor, then I say incorrect place, but also please advice.

http://dededi.bloggcasting.com/

By June, 2008, the Haier Group has provided a total of 38 million RMB worth of materials and financial aid for the reconstruction of primary schools and homes destroyed by the earthquake. 

December, 2007: The commission for the safety of household and similar electrical appliances of the International Electronics Commission (IEC/TC61) announces that the water heater security standard proposed by Haier would be listed as the international standard by the end of 2008.

Through July 2008, Haier has participated in the drafting of nine international standards; three of those–related to washing machines and water heaters–are set to become international standards by the end of this year. 

 May 1, 2007: Haier (Thailand) purchases Sanyo’s refrigerator factory in Thailand and established Haier Thailand industrial park. This is Haier’s forth industrial park overseas, making Haier the second largest refrigerator manufacturer in Thailand. 

January 1, 2007: Haier purchases a local refrigerator manufacturer in India. At present, Haier’s Indian factory, which focuses mainly on refrigerators, employs over 300 workers and has an annual production of 350,000 units. 

November 26, 2006: The Haier-Ruba Economic Zone is unveiled in Lahore, Pakistan. This is the first of the ten overseas economic and trade cooperation zones established outside China by the PRC Ministry of Commerce. 

October 27, 2006: Haier set up the Haier Sanyo Co joint venture with Sanyo in Osaka, Japan. 

June 22, 2006: The world’s first powder detergent-free drum washing machine is launched by Haier. 

April 10, 2006: Haier becomes a strategic partner and the first world home appliance sponsor of the National Basketball Association. By its association with one of the most popular sports leagues in the US, Haier aims to become a household brand in North America. 

August 12, 2005: The Beijing Organizing Committee for the Games of the XXIX Olympiad announce that Haier will be a corporate sponsor for the 2008 Olympic Games, making Haier the sole white goods sponsor of the Beijing Olympics. 

June 28, 2005: China’s Ministry of Information Industry issues China’s first national standard for a network home appliance, with Haier taking the lead in the institution of the new standard. Haier adopts the new standard in the development of the company’s third generation network home appliances. 

March 1, 2005: Haier (Middle East) Industrial Park opens in Jordan. This is the largest home appliance industrial park in the Middle East. The industrial park becomes Haier’s operations platform for the Middle East region providing a base for Haier’s products to be sold in surrounding countries including Syria, Lebanon, Egypt, and Palestine. 

May, 2004: Haier’s Freezer Unit passes Social Accountability 8000 (SA8000:2001) Certification, as Haier is recognized internationally for its commitment to corporate social responsibility. The occasion also marks the first such recognition of Haier by the international community. By June 2008, over 10 other units including electronics and home air conditioners will have passed SA8000:2001 

November 28, 2002: Haier New York Life Insurance Co., Ltd is established as a joint venture between Haier and New York Life Insurance Co., Ltd. with registered capital of 581 million RMB. 

September 11, 2002: Haier invents the world’s first double-drive washing machine, the fourth type of washing machine design after the top-load, front-load, and agitator models. 

July 27, 2002: Haier is recognized as the first company in the world to adopt the International Organization for Standardization’s ISO10015 training system. 

September 19, 2001: Haier launches Patriot I: China’s very first large scale integration digital television MPEG-II decoding chip for commercial use. 

June 19, 2001: Haier purchases a refrigerator company from Meneghetti Equipment of Italy. This is the first cross-national acquisition by a white goods company from China. With Haier’s design, research and development centers in Italy, Holland, Germany and Denmark and its marketing center in Milan, Haier achieves its Three-in-One operational framework in Europe in addition to the United States. 

April 10-12, 2001: Haier’s second overseas park opens in Pakistan, selling products to India, Afghanistan, the Middle East, and Africa. 

April 30, 1999: Haier establishes an industrial park and the company’s first overseas factory in South Carolina, USA. With a design center in Los Angeles, a marketing center in New York, and a manufacturing facility in South Carolina, Haier establishes its first international Three-in-One operational framework. In March 2000, the South Carolina facility produces the first US-made Haier refrigerator. 

March, 1998: Haier CEO Zhang Ruimin is invited to lecture at Harvard Business School on the concept of “Activate Shocked Fish,” a Haier corporate strategy of maximizing a merged company’s latent or underutilized potential. Subsequently, the University of Southern California, IMD in Switzerland, INSEAD in France, and Kobe University in Japan conduct research on Haier’s OEC management model, market chain management system, and individual-goal combination. Haier’s market chain management system is also included in the European Union’s case database. 

1997: Haier passes ISO14001 for environmental management becoming the first Chinese home appliance manufacturer to achieve ISO14001 certification. Subsequently, Haier passes QC08000 Hazardous Substances Process Management certification and the European Union’s RoHS (Restriction of Hazardous Substances) certification. 

September, 1997: Haier’s entry into the color television industry marks the company’s first foray into the brown goods market. 

November 19, 1993: Qingdao Haier (600690) is listed on the Shanghai stock exchange. 

September, 1992: Haier achieves ISO9001 accreditation, the first Chinese white goods manufacturer to do so and an indication of Haier’s position as a world-class supplier of home appliances. 

December 20, 1991: Haier purchases the Qingdao Freezer Factory and the Qingdao Air Conditioner Factory forming a new entity, the Haier Group, and signaling Haier’s entry into the Diversification Development Phase. In July 1995, Haier purchases the Qingdao Red Star Appliance Co., Ltd. In 1998 Haier further lowers costs by merging 18 factories in China, including the Shunde Washing Machine Factory (Guangdong), Laiyang Iron Factory (Shandong), Fenghua Refrigerator Factory (Guizhou), and the Hefei Huangshan Television Factory (Anhui). By introducing Haier’s management team and corporate culture into these companies, Haier is able to ‘activate shocked fish,’ helping these struggling firms to maximize their latent potential. Haier expands its business from a single product–refrigerators–to a firm with a diverse product line including washing machines, freezers, air conditioners, televisions, and water heaters. 

1990: Haier products gain UL certification for standards and safety issued by Underwriters Laboratories. They also receive cross recognition and product certification from a number of renowned accreditation agencies including Intertek Foreign Trade Standards, UL, Technischer Uberwachungs Verein in Germany, Japan Electrical Safety & Environment Technology Laboratories, Canadian Standards Association, LGA, Korean Testing Laboratories, China Quality Certification Center, Prufstelle Testing and Certification Institute in Germany, and Laboratoire Central des Industries Electriques (LCIE) in France. 

December, 1988: Haier is awarded the National Quality Gold Medal, the first such award in China’s refrigerator industry, an achievement made possible through Haier’s “Branding Strategy.” The award also establishes Haier as the top refrigerator manufacturer in China. 

December 26, 1984: Zhang Ruimin is appointed as director of the Qingdao Refrigerator Factory, a collectively-owned factory at the time facing nearly 150,000 RMB in losses. In 1993, the factory is renamed “Haier,” with the name coming from the German company, Liebherr International Deutschland GMBH, who permitted Haier to use its technology and allowed the use of its logo during this early stage of Haier’s development.

 Silophone.net

Silophone.net is an intriguing look into both an interactive piece of net art, and a tangible piece of sound art. The concept behind Silophone.net is called the Silophone project; an abandoned grain silo in Montreal has been transformed into an interactive sound space where audio is collected from around the world via various communication mediums, and is played into the silo to create a highly reverberant drenched instrument. The acoustics of the enormous concrete space; almost 200 metres long, 16 metres wide and 45 metres tall, adds a remarkable colour to the audio amongst the reverb and large delay.

With one click of a button you can listen live inside the silo and immediately hear the resonance around the massive space; without even transmitting and sounds into the silo, you can hear a variety of field sounds from surrounding areas reverberating through its open spaces. There is also a bank of sounds on the site in which you can select to play through what they describe as ‘the instrument’. It takes just a mere thirty seconds for your selection to be played, and when the speakers burst into action, a wash of sound hits your headphones, as even the driest of samples swells around the silo, adding almost enough reverb to make it indistinguishable. The enormity of such a space is incomprehensible until we focus our senses upon it, in this situation it’s an aural sense, which differs from the usual visual abstraction, in which humans rely on more often. The fact that we are only offered the audio, forces us to listen into to space and picture it from a perception we obtain aurally, as opposed to visually.

Making this site interactive is a function that allows you to upload any sounds under 1mb into the silo itself. You simply choose whether or not you wish for your sample to be uploaded onto the bank of sounds that can be played, or if you just wish to hear your sound once through the silo. No reverb plug-in could amount to what the space does to your sound, and the quality of the streaming is highly impressive, allowing for a great audio experience. The Silo also hosts events; where artists from around the world play inside the silo, and are transmitted, all around the world. The events are also recorded and added to the ‘Events’ link on the site found, and is well worth a listen; comprehensively highlighting the effect that a space can have on a piece of music.  

This website’s simplistic concept results in an amazing aural experience, the idea of hearing your sounds being played on the other side of the world is remarkable in itself, but the transformation that is undertaken inside ‘the instrument’ is aurally astounding.  

 Visit the Silophone website and try out this great example of web art.  

Reviewed By Ben Hamblin

I took part in one of the Pedal Powered Silent Disco at the Cultural Centre on Friday the 24th of October which is one of many curious new events at this year’s Silver Artrage Festival. For those not yet acquainted with this modern festival experience or for those who have walked into one and are still wondering what in the world was happening, allow me to elaborate. A silent disco is part of a new dance area where people in a set space are provided with personal wireless headphones which can be tuned in to listen to a DJ, or sometimes switch between DJ channels. Any outsider walking into the event effectively see a venue of people dancing, yet hear no music, hence silent disco. Overall this makes for an experience like no other, strange at first but easy or simple to get involved with.

As simple as the concept is it still doesn’t take away the bizarre feeling of dancing among people who are quite possibly listening to something totally different than you. As a form of sound art its abstract experimentation with performance and installation mean that each person performs the sounds that they hear differently but the music or sounds are presented only to those wearing the headphones. The Silent Disco was originally introduced into festivals to reduce public noise disruption and create a new party environment for the willing patrons. As it has grown in popularity so too have the direction and creativity of the idea. A ‘silent gig’ is a progression of the silent disco concept, where two bands play live simultaneously within the same venue to compete for the attention of the audience who are wearing wireless headphones to hear the amplified sounds which they can switch between. The World’s First Silent Gig was held on August 13th at the Cardiff Barfly concert in 2008.

The interactivity of this type of sound art enables the controlling and mapping of the sounds to be less of a concern, however it does restrict the sound participation to only those with the headphones. This rings true of the notion that in some sound art and sound art installations sometimes the concept itself is much more meaningful and interesting than the actual sounds or music in the piece. I believe this describes the silent disco efficiently as even though the people do not have control over the timbre of an emulated instrument like in many forms of sound art, watching a room packed full of people dancing individually to music you can’t hear is fascinating. Even more so when you’re dancing yourself and observing the other dancers. The silent disco at the Artrage Festival enticed me to acknowledge that sound art is a greyer area than I originally thought and merges with other forms of expression such as dance and visual art quite dependently at times for particular pieces to work. While the silent disco was unfamiliar it did not make the interactions seem unbelievable.

For more information on the Silent Disco at the Artrage Festival go to http://www.artrage.com.au/festival/view/….
com.au/festival/view/silver/event/80

To watch a short video from part of one of the Silent Discos at Artrage Festival go to http://www.youtube.com/watch?v=w_IHE2_rY…

At Waugh with Gieles
Adam Trainer
Danny Glassby
Brett Murray

Spectrum Project Space
28th October 2008

Review by Kynan Tan

The Ambassador from Everywhere is a night of contemplative electronics, explorations of solo artists and a beacon for the far out and distant music makers of experimental considerations. Each artist on the night presented their own take on making music, through combinations of technologies, inventiveness and musical experimentation. There was the usual smatterings of amplifiers, microphones, synthesizers, musical trinkets and gadgets, but the inventiveness of the methods of utilizing these was what raised the performances to the levels expected of Perth experimental music.

Opening the proceedings was Brett Murray, who explained his work as creating objects for use in theatrical plays that would interact with the actors, producing a live soundtrack generated from the physical actions themselves. The concept is very interesting, to enable the music commentary on a work to be not dependent on taste or interpretation but based on more physically dependent relationships. This involved creating a dresser that had been prepared with electronics inside of it and sensors built in to the structure, which was placed on one side of the stage while Murray placed his computer on the other.

Tonight the piece was adapted to a musical performance and therefore was played in a controlled sense where Murray played melodies on the glockenspiel which were reinterpreted and produced through the dresser. This produced a kind of commentary on what was played, the dresser seeming to dispute or agree with whatever Murray played by reinterpreting the sounds with a different timbre, played at different pitches and sequences. Stephanie Fenlon was recruited as performer, and applied makeup while causing radical changes in the drone like sound of the dresser. Overall it was a very interesting performance, I believe aided by the conceptual understanding. The sounds produced were contemplative, but had a range of dynamics and qualities. I feel that the unusual performance ritual of powering sound through a dresser, or playing an instrument by interacting with an object is one that is a logical step in developing playable instruments to harness electronic sounds.

Next was Danny Glassby who arranged his Nord synthesizer keyboard in the centre of the room and prepared himself before unleashing multitudes of samples upon the mostly unsuspecting audience. The samples themselves were loops of varying lengths, some beat driven, others harmonic and some noise or texture based. Unfortunately with loops being played in a live context that have obviously been crafted and/or hand picked before hand, the sounds themselves have such a high importance placed upon them. They represent all the necessary time to search the suburbs, internet and own creativity to create the most interesting, pleasant or adventurous combinations of vibrations. Too often the sounds didn’t meet this criteria, seemingly sitting comfortably in the criteria of ‘a beat’ or ‘a paddy sound’ and only on occasion created a sound unlike what is common treatment of my ears.

Glassby’s performance technique also left some question marks, twiddling controls on the synth did not seem to relate directly to any aural excitation. While controlling the synth workstation seems to be a matter of mastering a new instrument, it was hard to relate the controls to the sound, and which changes were desirable. The only regular one-to-one audio/visual relationship seemed to be when one sample had reached it’s limit and it was time to abruptly cut it off, and bring in a new sound. Perhaps a development on the MTV fast cut style of rapid information, the music may be the way things are progressing into the 2010’s. I felt that the musicality of Glassby’s performance could have been improved by developing the sounds and layering them, giving some reference point of which to enter a new sound world. As it was the regular cuts of sound did not seem to have any direction as to it’s intent, whether that intent was to be purposefully progressive, or completely indeterminate. At any rate, regular obvious checking of his watch was not enough to prevent Glassby from performing for perhaps 10 minutes too long, a set which ended as abruptly as each micro-organisational part of it already had.

Adam Trainer is known around the circles as a veteran performer, and his performance on this night proved his expertise and control. Beginning with slow swells of a cymbal which gradually moved in rising and fallings waves of sound, his set was a perfectly planned out oceanic voyage. The cymbal was first played with mallets, then a microphone was moved across the surface, changing the timbre and levels of the sound. The sound of a creaking microphone stand was then added to the mix, along with percussive toys, pan flute, and finally vocals. It was the method in which the sounds were processed and layered by Trainer’s delay and loop pedals which made the performance. The loops were long and never repetitive in the sense that you were obviously hearing repeats. The sounds that were played all built up and died down in waves, a structural choice that emphasized the combinations of the instruments and also the space in between sounds. Viewing the piece in retrospect, the rising and falling waves of sounds and gradual but constant alterations gave a free floating feel that presented new and interesting combinations of sounds at each stage of the performance.

At Waugh with Gieles’s performance mirrored Trainer’s performance in the use of instruments and vocals to build layers however this performance was perhaps even more texturally focussed, and while the loops and repeats were more obvious, each layer gradually faded out to allow new sounds to appear, constantly presenting new listening experiences. AWWG began with playing several notes on the guitar in a seemingly illogical sense, which were looped over a period of one long phrase. Further notes were then added and made the original note choice significantly more logical when more harmonic and textural layers appeared. These notes created a sound mass that moved and swayed, every changing and always pleasing to the hear. Eventually AWWG moved on to a microphone and sang notes into delayed reverberant masses, providing another sound timbre and adding further interest. It was at this time that I felt the set should have been divided in some way, whether that be completely stopping for a moment, or at least a quiet section. This though occurred due to the next section comprising of a different set of material, including the demonstrative insertion of a CD into one of his two laptops, while throwing away the case. This bold action was the visual cue for a change in material to sampled sounds, sparse, ambient drums and sampled textures. AWWG rounded off his set by returning to the guitar and vocals, continuing his workman-like ethic of building up samples and layering sounds which were doomed to gradually fade away. Overall a very inspiring set from an artist who has strong control over his sound craft and a very interesting approach to texturing music.

The Ambassador from Everywhere was to me a realisation, that Perth experimental and electronic music is thriving. The variety of music, the creativeness and desire to produce new material is obvious, and the support of one another immense. From the moderate sized crowd there were many more musicians capable of performing equally impressive sets, while very happy to be there to watch friends and collaborators perform. The label Meupe must be credited with their efforts to put on these events, promote and develop experimental music and continue to develop a culture for adventurous and inspiring music.

Review by Kynan Tan

Ellie Cumming

17/10/08

On the 5th of June at the KULCHA Multicultural Arts Center in Fremantle, a small crowd of people gathered around in a petite space to watch a world-class gypsy violin soloist and his band perform spectacularly throughout the night. 

The room was filled with Hungarians and middle-aged to senior citizens who enjoy a good dose of Eastern-European flavour, however, anyone at any age would have enjoyed this amazing performance. Antal Szalai is considered one of the world’s best Gypsy violinists and this title is well deserved. It has been a long time since I have seen a violinist perform live who has great intonation, amazing passion and fantastic precision to his playing.

It wasn’t only Szalai’s talent and passion that created such a great show; the band was made up of one Viola, Double Bass, Clarinet and one unusual instrument I had not seen before, the Cimbalom, (or Hammered Dulcimer). This instrument looked much like the inside of a Harpsichord; it was made of horizontal strings that were played by hitting the strings with two sticks.  Apart from the virtuosic violinist, it was the Cimbalom and Clarinet players that stole the show. The Clarinetist had such an unusual tone when playing solo, it was harsh yet soothing, and he doubled as a panpipe player for a couple of the songs. The Cimbalom player was so interesting to watch and listen to and at one point the player was blindfolded whilst playing a frenetic piece. All players would often erupt into song whilst playing, such as in the “Traditional Gypsy Medley” encouraging the audience to join in.

“The musical equivalent of a circus tightrope act” –The Australian.

It was indeed as entertaining as a circus tightrope act as the audience gasped and laughed at the player’s skills and talent. The pace and frivolity of some pieces contrasting with the sorrowful laments that were also played created an exhilarating roller coaster ride for the audience. The combination of instruments created a circus-like atmosphere and was extremely well balanced. The players demonstrated their astonishing musical ability that they possess whilst creating an intense, exciting and engaging performance to watch, encouraging the audience to sing, dance and clap along, and eventually erupt in an explosion of cheers at the end.

To check out the latest cultural events please visit: www.kulcha.com.au

Located: 1st Floor, 13 South Terrace

Fremantle, West Australia

Tues 14th October 2008

Reviewed by Mark Bradstreet

The concert began with Warwick Potter the conductor of the wind ensemble ‘Force 12’, addressing the audience with the warning - “you may like to sit further back, because it’s quite loud”. Although this humorous introduction was soon met with the pure force, of ‘Force 12’ itself. The volume and power produced by this wind ensemble was amazing, and definitely not the sort of thing that an audience member would wish to displace themselves more so from.

Before anything else, I must comment on the energy and interest that Warwick Potter instils in an audience member through his role as conductor. His physical intensity in participation with the music throughout only emphasized the quality of the performance, and drew audience members closer.

The wind ensemble began with the ‘Second suite in F’, by Holst, which was a suitable and appropriate choice for the mostly classically trained musicians that the ensemble consists of. The ensemble played the four movements within this piece with charm. Amongst these movements was a wonderful tone that resided from the flutes, and some strong and consistent contribution from particularly all horns and trumpet players, but also the entire ensemble.

After the close of the first work, Warwick Potter again addressed the audience in a humorous fashion – “This is to prove that classical musicians can also play jazz.” Much of the audience broke into light laughter, though I had a feeling at that time that Warwick Potter had not intended this solely as a joke, and spent the rest of the concert supporting his comment with the tight and well rehearsed performance that Force 12 produced for the 3 jazz influence works that were to come. ‘Sinatra in Concert’ arranged by Nowak, was next to be performed, followed by ‘Big bands in concert’ arranged by Lowden and finishing with Gershwins ‘A symphonic Portrait arranged by Barker.

These three works were bright, powerful and engaging, and it would be hard to negatively criticize their performance. The saxophones I must say excelled in quality and tone colour during the more jazz inspired pieces, and their presence was predominantly more noticeable and of importance. During ‘Big bands in Concert’, the trombones, eupho and tuba all played consistently and very effectively in collaboration with rest or the ensemble. While during ‘A symphonic Portrait’ the clarinets and oboe were critical in the depiction of themes and mood portrayal.

Last but definitely not least are the percussionists who performed to a high standard, and were definitive in their ability to produce energy in their playing styles. The physical involvement of some of the percussionists and their music was an effective way to add an engaging visual element for the audience to appreciate. On a final note the wind ensemble Force 12 and conductor Warwick Potter produced a delightful and engaging concert, and I hope in future I am given the privilege to see them perform again.

Empire Of The Sun - Walking On A Dream (released October 4th 2008)
 http://earwax.anarchyblogs.com/2008/10/17/pivot-o-soundtrack-my-heart/

Review by Andrew Sinclair

Pivot are a live band. Pivot are a rock band. Pivot are experimentalists. Pivot are 80s soundtrack revivalists. Pivot are futurists. Pivot wear their influences on their sleeves. Pivot are unclassifiable. Pivot want to make you dance. Pivot want to make you listen, Closely. ‘O Soundtrack My Heart’ is their Manifesto.
Recently signed to Warp Records, home of such pioneers as Autechre and Andrew Weatherall as well as recent showstoppers Flying Lotus, Jamie Lidell & !!!, Pivot have gone from unknown in their Australian homeland to Internationally embraced in a very short amount of time. ‘O Soundtrack My Heart’ searches to capture the sound of a band who love to go crazy in front of an audience just as much as they love to make you wonder in amazement at the sounds blaring from all directions inside your headphones. That irony is what makes Pivot a great band, and what makes ‘O Soundtrack My Heart’ a great album.
The most immediate comparison to the band is fellow labelmates Battles. This is due to the focus between both bands on live elements. Both Pivot and Battles use live instrumentation such as guitars, bass, key & drums, and both create highly detailed and textured samples within their live shows. The Difference is on O Soundtrack… it is almost impossible to tell where the live samples end and the post production begins.
Tracks like ‘Love Like I’ are made from extremely dense but spacious samples, but stop, start, shift and spin around in any direction at any time. The effect on the ears is amazing but completely startling to the brain. It is impossible to pinpoint where the edits are being made.
That’s because Pivot are dedicated to changing our perception of what a rock band can be. While many musicians traded in their guitars for laptops, Pivot decided to keep both, and would treat both equally. Their set up consists of a Drummer/Keyboardist (Laurence Pike), a Guitarist/Vocalist/Keayboardist/Computerist (Richard Pike) and a Computerist/Noise Artist (Dave Miller). You can tell that they treat their laptops like their guitars. If you ever see them live you will be amazed at how much Dave can rock out in front of his laptop just as much as Richard does with his guitar.
The equality within the music is so important. The samples play just as large a part in the prog-like pieces as the guitar riff’s or the drum groove. Ambience is treated as melody, and melody as Ambience. A Guitar solo can be shoved right in your face and still feel second place to the 3 note keys riff such as on ‘In The Blood’ or rhythmic laptop noise could be screaming through the speakers and later be revealed to be a guitar riff such as on the title track.
O Soundtrack My heart really sores when it’s combining the hugely diverse influences of it’s members. Burbly ambience is all good and well but it’s nothing new, but cheesy Vangelis synth with blaring guitar noise on top of electronic samples and prog beats is what makes Pivot shine.
Pivot are a band who obviously love music and who know how to combine it very well. O Soundtrack My Heart is a great as an album because it perfectly displays the musician’s belief that a live band can be a headphone band, and that a band hugely in debt to the past can pave the way for the future.

 http://www.pivotpivot.net

After a short introduction by Head of WAAPA Classical Music Stewart Smith, Bischof launched into an improvisation in the style of J.S Bach, a Prelude and Fugue to be precise, one that one could easily assume was not improvised but written by Bach himself, so closely did it resemble his style.  This was a taste of things to come, with Bischof nailing all the styles he played, even with some of the bizarre themes he was required to use in his improvisation. His improvisation of a Max Reger Chorale Fantasia and Fugue started with a short simple melody before launching into an immense, bellowing flurry of notes, filling the cathedral with sound. His take on a Pierre Cocherau March captured Cocherau’s style perfectly, even though the theme of the March was based on Waltzing Matilda, albeit a very dark and sinister Waltzing Matilda. Stravinsky was next, with his trademark time signature changes making an appearance. The Messiaen improvisation presented an interesting challenge to Bischof, improvise in the style of Messiaen using Webern’s 12-tone row from one of his Opus’s and utilise the Love Theme from Tristan & Isolde. Impossibly, he pulled off this improvisation with aplomb, beautiful yet bizarre. To finish the concert he launched into to completely improvised, 25 minute long, 4 movement Symphony (Maestoso, Scherzo, Adagio and Presto), including two traditional church hymns as the themes. To me, and I’m sure to most of the people listening it was impossible to tell that this was improvisation, so perfectly formed and composed did it sound. The Adagio movement was especially beautiful, all the more poignant because it was improvised and would not likely be heard the same way ever again.

His skills as an organist are undeniable, and his ability to not only play, but to improvise in the style of the great composers made for an amazing concert.

Sean Bernard

Pendulum formed in Perth, (their home town) in 2002, when the producer, singer and synth player, Bob Swire and bass player/DJ Gareth McGrillen teamed up with local DJ Paul ‘El Hornet’ Harding. Their individual talents ranged from producing drum ‘n’ bass, break-beats and hardcore, to playing in metal and punk bands. They pretty much owned the style of drum ‘n’ bass in their first 12 months of being together as a band.

Pendulum, now consisting of Rob Swire (vocals/synth/producer), Gareth McGrillen (bass guitar/DJ), Perry ap Gwynedd (guitar), Paul ‘El Hornet’ Harding (DJ), Kodish (drums)and Verse (MC), have made 6 albums as well as bringing out singles and remixing other songs into the “Pendulum” style.

My perspective on Pendulum’s new album, In Silico, sounds a lot different to their previous albums, like Hold You Colour, in the sense that they have kept the Drum ‘n’ Bass rhythm, but have incorporated other technicalities like their traditional electronics infused with rock and live instruments. “Showdown” for example, is the first song on the album, and has the distinctive Pendulum break-beat combined with wailing guitars, live drums, keyboard riffs, and a blues harmonica. To me, it’s like drum ‘n’ bass meets rock ‘n’ roll.

I don’t think the feedback from this album would’ve been what they expected due to bringing in new and different sounds into their music. Some people say that they have steered away from their traditional Drum ‘n’ Bass sound. I disagree with them in such a way that I think they would’ve wanted to try and do something different instead of creating songs that, lets face it, pretty much sound the same. Don’t get me wrong, I think Pendulum are great and I love this album as well as well all their other works. I just don’t agree with the slander that they have copped from it, because it’s still Drum ‘n’ Bass, with added extras.

All in all, I’ve listened to this album a number of times and compared it to some of their previous albums, and I don’t think it’s quite as good as some of their other compositions in their style of drum ‘n’ bass, but to me is just as good in a different style of say, drum ‘n’ bass fused with heavy rock. Either way, whether you like Pendulum or not, you have to admit that their work gets you moving and fills you with energy. To me, that is the most rewarding part of sharing your music with people.

Pendulum Website

Audio Insider - Pendulum

Pendulum Downloads

Listen To Pendulum Online

By Mikaela Davies

Thursday october 9
     As you strive to adapte to the world for suvival, it is very easily for you to lose yourself gradually. Once the loss of direction, however, you may become more weak and influenced by outside world or other people. Then you may go with the flow bits by bits.
     Hence, if you want to live a wonderful life, you must learn to be the director of your own life, play your own story on the stage of life. Yet, there are some directors, who know little about the individuality of their players. Rather than, they handle the player as a piece of chess, and force him or her to act according to the director’s will. Your characteristic might be restricted, if you are such a director.
    So, you should know yourself and your own talents, if you want to be an excellent director of your life. Meanwhile, all kinds of difficulties and challenges are also necessary, for only know yourself is less enough.
     It is the stage of life, which allow you to be defeated as well as standed up once agin.  The player would not get more strong, if he or she always act someone unimportant. Further, his own personality could not be showed completely. Thus, as a player, who should play some complex roles, in order to be more attractive and show his individuality perfectly.
     The encounter of difficulty is also inevitable, however, which may turn into a lesson for the director to improve his skill. At the same time, it offers a good chance for the actor or actress to grow up quickly.

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