Thursday, 31 July 2014

New on Shame File Music

New releases from Shame File Music


Arthur Cantrill - Hootonics LP The soundtrack to Arthur and Corinne Cantrill's 1970 feature-length film Harry Hooton features the groundbreaking music/sound created using a variety of musique concrete/tape techniques, collage, and treated recordings of early CSIRO mainframe computers. Hooton was a poet, futurist and thinker associated with the Sydney Push, and a formative influence on the Cantrill's artistic view, as detailed in Arthur's liner notes. This extraordinary soundtrack is a fitting tribute to Hooton, and stands as unique proto-electronic noise music decades ahead of its time. Limited edition of 300 copies, includes download card with bonus non-LP track.

Special offer – get Arthur Cantrill’s ‘Chromatic Mysteries: soundtracks 1963-2009’ CD with ‘Hootonics’ for a discounted price

Surface Noise is a new series of limited edition (50 copies), hand-numbered CDRs documenting live performances of experimental and noise artists. Each volume features live performances from two different artists; the first initially invited by the curators, and the second then chosen by the first artist. Co-released by Melbourne labels Iceage Productions and Shame File Music, the series will consist of ten volumes.

cleaninglady/Klunk - Surface Noise vol. 1 CDR The Surface Noise series kicks off with a Melbourne double, featuring the modular synthesis noise of cleaninglady and a subterranean performance of unique handmade instruments and electronics from Rod Cooper’s Klunk.


New titles on Shame File Music mailorder:




Teletopa "Tokyo 1972" 2CD/3LP In 1968 the young Sydney composer David Ahern studied in Germany with Stockhausen where he met Cornelius Cardew. The next year he travelled onto London attending Cardew’s classes in ‘Experimental Music’ at Morley College and - in a mammoth seven-hour concert at the Roundhouse on 4 May - participated (with Cardew) in performances of La Monte Young’s String Trio and also took part in the realisation of Paragraph 2 of Cardew’s The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra. These were revolutionary and defining moments in 20th century music.

Returning to Sydney in 1970, one of Ahern's aims was to set up an electro-acoustic improvisation group - Teletopa was founded in Sydney in late 1970 by Ahern, Peter Evans and Roger Frampton. Tokyo 1972 features two 50 minute improvisations from a radio session at NHK studios Tokyo. The group was Ahern, Frampton, Evans and Geoffrey Collins and they were completing a 1972 world tour. The group broke up on their return to Sydney. Only a small example of their work has ever been released before.

Packaged as a multi-panel digipak (the double CD version) and screen printed (triple LP) cover,the Liner notes include an Ahern manifesto from a 1971 pamphlet, and a newly penned "Potted History of Teletopa" by former member Geoffrey Barnard. The tapes have sat in boxes for 42 years. With this release we can hear that Sydney in the early 1970's had a group at the forefront of musical experimentation with a unique take on free improvisation.




Tarab - Shards of Splinters CD Sprod collected all of the sounds for Shards Of Splinters while on a month-long residency at MoKS in Estonia. He purposefully chose to go to Estonia in the middle of a very cold, very bleak Baltic winter, in stark contrast to the fire-season and sweltering temperatures he would have found at the same time in his native Australia. As with his small back catalogue, Shards Of Splinters navigates along the boundary between the natural and the industrial - where factories had been left to collapse and to be consumed by vegetation, where tin sheds were torn asunder by hurricane force winds, where rusted pipes eerily resonate chorale drones from unseen cisterns deep under the surface of the earth. Many a field recordist and sound ecologist uses this boundary space to collect a beguiling array of recordings, but Sprod focuses almost entirely on mapping an apocalyptic poetry through his profoundly broken sounds. The unforgiving cold of the Estonian winter threads his recordings of slushing ice, crumbled concrete, and scraped metal that he deftly arranges into ruptures and disturbances that churn through tactile squeaks and metallic vibrations. There is a violence front and center in Sprod's work as if he's forecast the globe itself waking from hibernation to exterminate humanity once and for all. Aesthetically, Shards Of Splinters finds common ground with Eric La Casa or the more narrative work of Chris Watson; but conceptually, Sprod takes a much darker approach akin to Small Cruel Party or G*Park, that gives his recordings a magnificent depth. Brilliant. - Jim Haynes.




Tarab - Strata CD Strata has been constructed from recording made in a series of vacant lots and their immediate surrounds in the north-west of Melbourne. These vacant lots are backed onto by various factories and warehouses on one side and a train line and Moonee Ponds creek (perhaps more aptly described as a concrete storm water drain) on the other. Running some 20 meters above all this is a large multi-lane highway overpass...Rather than attempting to document this location I set out to construct a sound piece from the place itself through my direct interaction with it. Somehow collecting together all the existent traces I could unearth to form the work. Not only through walking, observing and recording the various areas and sounds but also by crawling and scratching around in the dirt; sifting through the piles of discarded objects; listening to the solid vibrations of the concrete pylons and traffic noise from inside the creek; by burying microphones and dragging them through the dirt and rubble. Strata attempts to respond to ideas of urban density and emptiness, and to show how these states blur and overlap each other. I have tried to highlight the small hidden details and with them create a condensed hyper-real version of my many wanderings through this area. But perhaps more simply put, Strata is the result of a process of attempting to, if only fleetingly, inhabit somewhere. To see, hear, smell and touch it. - Eamon Sprod (Tarab)

Limited edition of 200 hand numbered copies.




Tarab - I'm Lost CD A schizoid-concrete opus of environmental sounds heightened, stimulated, decontextualized, and teased into a psychic puzzle of industrialized and post-industrialized detritus, I'm Lost marks another milestone in the ever impressive catalogue from Australian sound-artist Eamon Sprod, who adopts the moniker Tarab for his endeavors. The title is one that explodes with a multitude of meaning. There's the geographical frustration in losing one's way as the surrounding landmarks fail to match with whatever technology may be in use (e.g. a sextant, a compass, an iPhone, a torn map, one's poor memory of a childhood neighborhood, etc.). There's the psychological implications of being lost from the existential narratives that we have scripted for ourselves due to broken relationships, failed jobs, dead relatives, natural disasters, the hand of God, etc. In addition to these possibilities, Sprod proposes that the notion of "lost" could also be an inversion of the idea of the "found object" or the "found sound," instead becoming the "lost object" or the "lost sound." Sprod's semantic wordplay is hardly a conceptual gimmick, as he fully immerses himself in the confusional framework while maintaining a consummate technical prowess over his field recordings. The compositional approach is rhizomatic, with dead-ends, wrong turns, and reprisals of these same dead-ends and wrong turns, offering a blackhumor sneer at the stubbornness of humanity's inability to learn from our mistakes (e.g. pollution, blight, poverty, disease, etc). Within the album's harsh edits and disjointed collages, Sprod renders sound with dysphoric associations through his vacant drift, crumbled gravel, scalding plasma-tube frequencies, and putrid factory noise. I'm Lost achieves the same psychological gravity as heard in the works of Sudden Infant, P16.D4, and John Duncan with an even greater sense of dislocation from those pioneers of radical tape splicing.




Solvent Cage "Ceremony" CDR - Dense, precise and foreboding instances of sonic darkness. Limited first edition of 25 hand-numbered copies on elegant transparent paper covers.

Shame File Music: Australian experimental and beyond...
http://ShameFileMusic.com

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