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Overtone Ensemble CD - Tim Catlin's Overtone Ensemble create drone-based, immersive soundscapes utilising self-made instruments and bowed and activated metals and glass.A liminal zone where acoustic instruments vibrate with eerie electronic verisimilitude and familiar instruments sound strangely alien. Dense percussive sound fields peal and ring out from re-purposed scuba tanks and massed handbells. Tuned aluminium rods are caressed into of metallic frottage. Fluttering microtonal beats tickle the cochlea and crystalline earworms writhe across stereo space. It's an album of oscillating and unalloyed acoustic energy - a real Metallic K.O.

"Overtone Ensemble is among 2016’s finest, most fanciful alternatives to real life as most of us must live it, most of the time". - Village Voice

Overtone Ensemble - Longitudes cassette - “Longitudes" is a work written for Tim Catlin's Overtone Ensemble utilising microtonally tuned ‘vibrissae’ instruments as well as other acoustic instrumentation including bowed guitars, handbells and long wire instruments. The piece aims to take advantage of the unique acoustics of the Design Hub at RMIT (where this was recorded live as part of Liquid Architecture 2013) and its long reverberation times, high ceilings,and bright sound, to further amplify and extend the unique sonic signature of the rod instruments and produce an immersive and enveloping sonic environment.

Red Wine and Sugar - Chattels + The Confidence and Humour of John CD - Red Wine and Sugar is Samaan Fieck (Smash Tennis, Hexham) and Mark Groves Mark (Dead Boomers, Von Einem), and together they combine the disturbing textual materials of what sound like self-help pampletts with granular tape artefacts and irregular thumps. These tracks were originally released as ‘Chattels’, and as part of the compilation ‘The First Thing that you want is the Last Thing that you Need’ on Maitland based Mazurka Editions in 2015-16.

Todd Anderson-Kunert "When There Is Nothing Left To Say" LP - "Anderson-Kunert's music is from time to time a bit noise based, in all three of these pieces, but he moves gently through his material, which ranges from introspective and quiet, into something much grittier and noisier. Each of his pieces seem to me to be a form of sound collage, in which Anderson-Kunert moves very gently through various extremes, both loud versus soft, but also high-end versus low-end, and all of this makes up one excellent record. It is not about noise indeed, even when some of this comes close; it is however much more than that. This is noise of the variety that calls for more thought and greater care" - Vital Weekly.

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