[microsound] 1/4_inch this Wednesday 7:30

[Aaron Hull <aaronh@xxxxxxxxxx>]

Reminder 1/4_inch on this Wednesday evening from 7:30pm


1 / 4 _ i n c h


    W e d n e s d a y    O c t o b e r    4 t h



           R I C H A R D   C H A R T I E R    ( U S A )

           F I L A S T I N E   ( U S A )

           T I M   N O H E   ( A U S   &   U S A )

           A D R I A N   K L U M P E S   &   S H O E B   A H M A D ( A U S )

Artist talk by Richard Chartier 9:30 building 25 room 128 Uni. Of Wollongong


This is a rare chance to catch a 1/4_inch event. Sporting an outside venue
and a surround sound sound PA to boot what better way to celebrate spring.

With a diverse range of international artists on the bill this is a one off
chance to experience these artists in performing in Wollongong, let alone
Australia. For those of you not lucky enough to catch these artists in
Newcastle over the weekend then this is your last chance to see them.

Bring a bean bag, cushion or rug.

Building 25
Faculty of Creative Arts Amphitheatre.
Wednesday 4th October, 7:30pm.
Refreshments Available
7 & 10 at the door
www.1-4inch.com for more info.

Artist Bios 

Richard Chartier
http://www.3particles.com/

My live performance differs perhaps most significantly from my recorded work
by virtue of an increased audibility and activity. The sounds used are
selected from a collection of pre-designed sounds, culled from past
compositions and unreleased work but chosen with attention to the space and
situation in which they will be presented as part of a new performative
composition. In this sense, a live piece works to bring sounds into new and
more immediately dynamic relations, creating a compositional outline within
which a degree of space exists for immediate and on-site improvisational
effects and reworkings. Because a live performance occurs at a slightly
louder volume than recorded compositions, and even further pulls the
attention of the audience specifically to the experience of sound and its
physicality, performances are best suited to take place within spaces that
encourage the listener to circumvent other sensorial input especially of the
visual sort. Minus the impinging presence of visual cues and, as much as
possible, other audio stimuli disconnected from the performance itself, a
live presentation of my work methodically cultivates attention. It
encourages a listening environment where auditors may focus intently upon
their capacity for hearing the presentation of sound, within a context and
frame distinct from the more routine forms and practices of listening.
Numerous audience members have often noted over the past several years on
the transportative nature of the performance/experience and that a distinct
displacement in their experience of time occurs in which they are no longer
cognisant of the duration of the actual performance.

Filastine 
http://www.filastine.com/info.html

Filastine layers artists from distant genres and locales with great
architectural sense, and while at times the extremity of the juxtapositions
borders on hilarious, the music always feels heroically well designed and
strong in conception. On "Palmares," disaffected French oration is overlaid
with clouds of gypsy-brass ennui, while party-starter "Judas Goat" lets the
rhaita, one of the wailing horns of the Master Musicians, loose over beats
that wouldn't be out of place propelling an Aaliyah cut. On some songs,
Filastine's constructions are reminiscent of the murky drama of Ninja Tuners
like Amon Tobin and DJ Food, and throughout the album the lines between live
performed contributions and meticulously contextualized samples is slurred
and burnt. The most emotional and fully realized pair of songs come about
two-thirds in: "Boca de Ouro" alternates dizzy rhymes about dental work with
a fuzzily cinematic chorus, and "Autology" is a slow-burning adaptation of
an Indonesian song in which the intoxicatingly mournful singing of Jessika
Skeletalia Kenney sails over a bed of screeching bowed bass and
quicksand-sinking drum patterns.

Tim Nohe:
http://www.research.umbc.edu/~nohe/GAG/

Nothing changes from generation to generation except the thing seen and that
makes a composition.

Composition as Explanation Gertrude Stein

My live sound work is presented in concert, via net cast and in event based
contexts. I assemble, test, adjust and erode constructions of sonic and
visual bricolage. I advance by trial and error, in real-time. The audience
is thus witness to a set of procedural negotiations as I move toward the
purposeful configuration and interconnection of materials. I often choose
materials found in-situ, making direct gestures that elicit the sound
potential of forms and processes that may have appeared to be void of
instrumental possibility.

Shoeb Ahmad
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=17
385811

Shoeb Ahmad is a musician/sound artist from Canberra,Australia and is
currently based in Wollongong. An interest in cassette collages and cheap
keyboard tones sparked a life long 'musical' obsession with drones and avant
noise. Alongside a brief history playing second fiddle in many punk and
nu-metal bands, a catalogue based on fragile drone architecture and
cathartic pop guitar noise developed and led to shows around town with
trusty friend and call-in drummer Evan Dorrian. Between then and now, a
growing interest in laptop processed works and free improvised music slowly
informed Shoeb's various recorded and live output to the point of sharing
distorted dancehall beats with mates and performing pure improv duo sets.
June 2005 saw Shoeb tour nationally, performing shows alongside DJ Olive &
I/O 3 (www.room40.org), M.Rosner (www.pablodali.net) and Sydney vibraphone
player Dale Gorfinkel while playing in duos with cellist Peter Hollo
(www.fourplay.com.au) and Wendi Graham from Perth band Radarmaker
(www.radarmaker.com). Shoeb's live performances continued through out 2005
with solo prepared guitar/discman/mixing desk sets and delay guitar + laptop
duets with Canberra sound artist TQ, including a local support for Melbourne
band Gersey (www.gersey.com). Throughout the course of last year, he also
began to collate various audio fragments in an effort to put together a full
length release. 


Adrian Klumpes. 
http://www.adrianklumpes.com/

Composer/pianist/keyboardist. Based in Sydney, Australia.
Studied piano a lot, then moved into jazz for a while, got real keen on
electronic and improvised music, did lots of gigs, was in some bands,
influenced by a lot of different music.
Currently exploring the combination of prepared and processed piano pieces,
sounds and ambiences, in terms of both improvisation and production, in
group and solo settings.
Writes and performs with Triosk, a band co-founded in 2001 which explores
the electro-acoustic possibilities of a multi-dimensional piano trio.

1/4_inch acknowledges the in-kind support of the University of Wollongong.




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