Wednesday, December 10, 2008
Adam begins this set as a solo distorshow recalling his cdr release and earlier shows. Same idea, only augmented with a spastic drum outro courtesy of Andrew George Mclellan. The transition between the solo intro and band idea worked well innit. Thirteen minutes.
KINDS OF LIGHT (SERENE GUITAR DUO, BI GENDER)
Folk influenced girl boy duel guitars with an interesting mix of slide guitar and female vocals. Song based with Luke Walsh playing fluid guitar over the top. Nineteen minutes.
HOLLOW EARTH (TRAPDOOR N' FRIENDS)
First show in a while for HE. Not as percussive as usual, more freeform laptop noise n' saxo *skronk*. Repressed Snare drum awakens a beat to which certain audience members avert their foot movement to und fro. Nice and short. Seven minutes.
KITCHEN'S FLOOR (SMILEY THREE PIECE)
Set starts with Failure, the room is full and upbeat. Vocals are loud and grainy. They contrast well with the nirvana-ish bass and Julia's dish based drumming. The set continues with stand out songs like; Sparkles , which seems extended as the crowd moves to the tribal drumming. Deadshits brings the performance to a close with the audience singing along loudly. A very happy performance enjoyed with friends. Twenty one minutes.
CURED PINK RADIO (PRINCE COMMITS SUICIDE)
Total left turn performance, set starts with the same two note drone thing he's been throwing around for a while, only sped up with a backing track (theme of which the backbone of his new and ultimately more EXCITING direction). AWESOME AWESOME SET everyone went berserk. Laughed, moshed, everything. Andrew accosted the audience a a a a a a a a a. Fifteen minutes.
MARL KARX (STARLETS OF AN EXCITING NEW ERA)
Marl Karx. So many thoughts, so many emotions, a few IDEAS and one band. Set is mostly comprised of their best material plus one new song. Vibe in room is of optimism of the present and physical reaction towards this epiphany confronts audience to throw themselves around and onto ground. Very enjoyable event. Fifteen minutes.
SCRAPS (GOOD SONGWRITER)
Reluctant celebrity of her own creation. Though never villified, always admired, wished NOT to have her recorded set of this night put up on the internet for dissection. Set was full of amazingly well crafted, genius invoking, passionately beautiful introspective meanderings of everything that is LAURA HILL. Brisbane would be much less of what it is without SCRAPS. Twenty minutes.
GLEN SCHENAU, MICHAELA SOPHIE CHIN, MATTHEW KENNEDY
Thursday, November 27, 2008
This update will chronicle weeks of time away from the internet due various circumstances.
LO-FLY HANGAR, 14/11/2008
HEART FLEW LIKE AN ARROW (FRUITION 'O INDULGENT POST ROCK VISION)
Heart flew like an arrow is OFFICIALLY one man, an Adam Rogers. Unofficially though, as of tonights performance INFACT, a full band of brisbane representatives. A/E/I/O/U, Cured pink radio and Nikko all represent here. Set followed two different keyboard keynote structures, that plodded along in a solid manner, while the three other members swelled around it. Drums were real good, though maybe giving Head man Adam for volume through his own guitar would settle perceptions on what heartflew IS and what it can be. Twenty minutes.
MARL KARX (Lost Brisbane youth)
Marl Karx perform for charity at Rosie's on a Thursday. Glen Schenau and Michaela-Sophie Chin play an amazing set before ending with a nervous breakdown. TWENTY-ONE MINUTES.
KETTLEHEADS (Progressing rock-band town brothers)
Set begins with a very active song with every instrument doing something equally WELL read 'interesting'. Song stretches out, an odessey of sorts. There were some REALLY good parts amid the set, alot of lead lines staying with myself outside of set. WATCH OUT. Twenty seven minutes.
AVID READER, 21/11/2008
SCRAPS (SECRET STAR)
Laura gets out some anger, middle-class menopausal women stand around unsure how to take the sweet beats and brutally raw honest paiiiiiin. Sing along bliss. The laughter is due to Laura taking a cardboard box as a lover ("Patsy") and hating on the indifferent/apathetic crowd, who eventually are forced to listen. Twenty minutes.
KITCHEN'S FLOOR ( INNER SUBURBAN DOOMED BRIS-BLISS)
First show with three piece lineup in a venue. Features Glen Schenau of Marl Karx on bass guitar, bass guitar itself though (+ rig) PROPERTY OF CURED PINK RADIO (THANKS)
SNAKERUN (A WEEKS WORTH 'O ANGER)
Snake Run thrashed from adelaide to brisbane again and this time played rosies to a packed crowd of which only fed to their attitude towards delivering a spectacle. It would be lazy to type Black flag down, that of which I am very. Set was really good, never let up. Ten minutes.
GLEN SCHENAU, MATT KENNEDY, JULIA NORRIS.
Monday, November 17, 2008
MAGICAL MULTIPLE MOONS (TRIBAL MASTERCLASS)
Magical Multiple Moons is Magical Kitten is Kitten Party. Tonight, Rohan performs his set in parts, with each part exploring a different element of his gathered tools. Beginning with a hypnotic cymbal cycle, his set later includes recorders, dictaphone (?) and the collection of empty wine bottles he's surrounded about his space, each of which adourned with a flower. Set closes with a percussive passage in which the untrained ear would suspect there to be more than one performing. Six minutes.
THE YEAR OF THE SEX OLYMPICS (TRUE BLUES)
Jamie revisits his vague approach on New Order's Ceremony tonight, only this time he's more liberal with the wanton violence inflicted on the ancient acoustic guitar. The recording here is rather quiet, but expecting anything more would be ignoring the point. Three minutes.
TRIBAL POLICE (THE REVOLUTION IS NEVER COMING)
http://www.mediafire.com/?zkzzt4on5ny You'll find most of Andeh's 'forum' in this recording.
TAKE THE GOOD WITH THE BANDEH
Sunday, November 2, 2008
KITCHENS FLOOR (HIGH SONGMANSHIP + DRENCH GUITAR)
photos by Adam Rogers
Sunday, October 26, 2008
MARL KARX ('PUNK) - http://www.mediafire.com/?mwyj2jmnvjm
TRIBAL POLICE (FIRST SHOW FOR FRIENDS) - http://www.mediafire.com/?zzxz3myvziz
BOY BRIGHTLULB (SOLO LOOP GUITAR OF GREAT INTEREST) -http://www.mediafire.com/?dyudddyhlno
Tuesday, October 14, 2008
Unique Oil Free Air is a solo project of one Adam. He starts his set in the corner of the car park as it's where the power point is situated. Some purple flowers have been scattered around said area, floating in puddles left by the weather that's gone and wet today. Adam's music is fed through a belt of pedals before him and out through a tiny practice amp. As he activate more pedals, the sounds become mor dense and demented. It's not long though before a man working inside the building we are leeching power from comes out and kindly asks he stop. Only around five people witness his set. Four minutes.
MAGICAL KITTEN (MANIC ACOUSTI-EXPRESSION)
As we've been asked to leave, Rohan (Magical Kitten) leads us over to another corner of the carpark, to a chainlink fence where trains often pass. Before this change in location, Rohan was planning to do a screamy delay pedal set, but we were now without electricity. So, he did an acoustic set on the fly. He sits at the bottom of the chain link fence and scatters his stuff around him. A now modest audience of around 7-8 stand around. Rohan starts his set by blowing through the top of a recorder, playing some shrieking high notes, before going into a state of visible panic, thrashing at the borrowed cymbals around him, among lot's of other things. The tribal nature of his music works really well with the industrial nature of our surroundings, trains passing, barbed wire. Really good, recording turned out really well also. Three minutes.
AUCHENFLOWER RED LIGHT DISTRICT (POST INDUSTRIAL MINIMALISM)
ARLD is another one of Jamie Hume's projects. I've seen him do an ARLD set before, only that time he was in a relatively stable enviroment (The Forest cafe space). For tonight's set, we are on private property, and have already provoked those who inhabit buildings around us. So Jamie's percussive set of beat ignorant cymbal crashing is ultimately more exciting. He tosses the broken cymbals around haphazardly, even with a certain flair for the disregard to to space around him. He ends his set when the cymbals are thrown over the chainlink fence I referred to earlier. Rohan scales the barbed wire and retrieves them. Two minutes.
MAGICAL KITTEN AND AUCHENFLOWER RED LIGHT DISTRICT (FAIR COLLAB)
After Jamie's set, more people arrive, and it is decided we all go back to where we were originally told to leave from, where Jamie and Rohan could do a duel encore, this time with electricity. Rohan screams into a microphone with delay pedals and all sorts, while Jamie throws his cymbals around. Then the same guy from before comes out of the building again, this time turning off the power himself. Rohan's delay effects are stripped from him midscream. Thirty seconds.
THERE MAY BE PICS SOON
Friday, October 10, 2008
Tonight's set was essentially the same agenda as the michelton show, only differing slightly, with perhaps the enviroment to credit. The police had already stopped by before anyone had started to warn against noises' loud, so theres maybe another factor WHAT IS THE USE OF ANALYSIS LISTEN TO THE RECO)))RDING Fifteen minutes.
For reasons I think being that two bands tonight under different or slightly altered names played a show the night before together at rics, the masking instead of subtracting bar revenue from a bar venue + bands left it on the shoulders and pulling power of name's original. The first band in question being musical pairing of brisband vets Ian Rogers and Alex Gillies AKA No Anchor. Their set as Black Birches began with Alex manning the drumkit as per usual, Ian on the floor nearby using a laptop, noise purposes. A slow build up eventually saw Ian pick up his bass guitar essentially turning what could have very nearly passed off as a new act (sic) entirely (laptop 'n drum duo Black Birches) into a No Anchor set, complete with solid block bass and powerrrrr. Down and up and down. Fourteen minutes.
YUSUKE AKAI AND NIK MAYER-MILLER (JITTERY GUITAR/DRUM SAVANTS)
AMAZING. Set was like, A LESSON. TOTALLY captivating, recording turned out really well. Yusuke plays guitar like he has completely ignored any sort of formal guitar training, unless it was training of this school in which case KUDOS because FUCKING GOOD! Nik rolls around his towelled down kit as if mentally falling down a set of very percussive stairs IE. REALLY GOOD. NOT ENOUGH CAN BE SAID BUT HERE I AM PS DOWNLOAD THIS. Eleven minutes.
SECRET BIRDS (JAM CHAMELEON BAND)
To further fit with tonight's curated lineup and theme(s) (that being doom/kraut rock), Secret Birds play tonight as an organic, solid, repetitive kraut rock band. Performing with D.black on guitar (as per usual) were a bassist, another guitarist, a drummer and Tom Hall himself operating something electrical, a keyboard perhaps. Droned on a bit, but that's the nature of der genre. Heil!. Twenty minutes.
SPARTAK QUARTET (SPARTAK + MEMBER)
Second band under circumstances altering their name. Band of course is actually Spartak, but to be fair have another member present during set tonight. Spartak approach the guitar/drum band in a fresh way where musically the guitar lays a bed of soft, synthy passages where the drummer will spasm over his kit-over the top of guitar bed lain down. So the drums are essentially the centerpiece, and rightfully so!. Drummer utilizes his surroundings (read, a ceiling beam) to get more percussion out of his role. That is, when he's not using every space possible on the kit he sits at. Really cool. The extra member didn't really have any audible contributions to their set, though maybe that was due to him setting up very far away from Spartak themselves. Seventeen minutes.
This so called "super group" features all the members of Blank Realm plus Joel Stern and the guitarist from Tad Guru Band. The set features two guitarists, mini trumpet (?), keyboards, drums and bass. The set starts with a funky dance beat and structured interesting bass which connects well with the guitar. The undertones of droning piano and guitar from the Tad Guru member contrasts well with the "dancey" music and gives it another interesting layer. Finally, the high pitched trumpet "solos" from Joel Stern bring the music to a more improvised 'Audiopollen' feel. Sarah's vocals sound like a mediation and create a STERN background noise. The set is enjoyed by the audience and various audience members dance along. All over it contrasts well with the overall dancey feel of the bands at Audiopollen tonight. Eighteen minutes.
Sunday, October 5, 2008
Max starts off his set as only he can using the immediate/live element of his set up, his guitar. Each of his songs start in a gentle manner, and for the most part stay true to the delicate nature of the 'emotion dwelt on, mostly staying within chord structures. Set comes in three movements of around 10 minutes each. During the final of the three, Max loops some percussive strumming of dead notes to great effect. It is within my knowledge that that was in fact, improvised. Twenty Eight Minutes.
PLEASE DEFACE THIS ARTWORK (PEDAL SHOW)
Please Deface This Artwork are two men with guitars, pedals and time. They play music in the same sort of vein as previous act Piers, only less structured. That's not to say there is any shortage in structure though. One of the two keep the set focused with a perpetual rhythm guitar, usually playing slow passages ETC for the other to tool around with his collection of pedals, which not only filled the small space on the floor in front of him, but a shelf on his right.
The two guitars are usually on the same level, which is a bit of a let down given the range of pedals which could be making a hellish noise-storm given the chance. The better moments of this marathon session were those where it was possible to hear the effects in well, effect. Thirty Eight minutes.
MARL KARX (INSECURE TOGETHER)
First show we've been able to use our own drumkit. Fourteen Minutes.
RYAN POTTER + HEART FLEW LIKE AN ARROW (SONGER SONGWRITER PLUS SHADE OF COLLAB)
Ryan Potter fronts Nikko, tonight he played a solo set of what I think were Nikko songs? Though I'm not too sure. Adam (Heartflew) contributes to an extent. Ryan plays his guitar and voice. The recording cuts off near the end. Seventeen Minutes.
CURED PINK RADIO (CONSERVATO)))RIUM OF MUSIC)
A high pitched squeal of amp noise is fashioned into an intro to the set, immediately alluring. Andrew moans over the top in a high falsetto, to an eerie effect. That caves into the running theme of Andrew's sets, low frequency bass drone churning out of his expensive stack amp deal. Andrew stands solemn, alone with drone for a stretch, until a two note vehicle driven by pure angst and indifference to existence snaps the audience to attention. Caves back into drone, and the set fades away in that nature, but not before his primal scream is reverberated through the pickups of his strat copy, becomes one with the floor. Eighteen minutes.
all photos by ADAM ROGERS, HENCE WHY NONE OF RYAN AND HEARTFLEW
Tuesday, September 30, 2008
Chloe Cogles performance art piece includes her spoken word over electronic drones and large projection which showers the back of the Forest Cafe in a red and yellow haze, which includes pictures of a 70's style lounge room. The accompying music drones in the background with minimal “tribal” style percussion, over the top of this Chloe speaks bluntly in a semi-monotone voice, that is reminiscent of a travel guide. Her story telling style spoken word is humorous and emotionless with its removed tone and analytical style script. The performance starts to take a climax when the synth style electronics increase pace with loud alarming bells. The performance is entertaining but albeit reliant on the background music to create better tension and keep the audience aware of the changing pace of the performance. Fifteen Minutes.
SIMULCAST (AUDIO VISUAL ASSIGNMENT PROJECT)
Simulcasts performance piece, a laptop/playstation based with remixed 'tunes' starts interesting with the flying colours and lines, differing movement and blasting beats. However, this piece starts to take a different turn when simulcast tries to get other members of the audience involved in the controller movement. Nothing challenging, nothing new. The first two acts tonight weren’t recorded, as they were each more of an audio/visual thing. Ten minutes.
THE IMPROMPTULONS (IMPROV WUNDERKIND SHOW IN A LONG TIME)
The set up for the Impromptulons is messy, a bass guitar, slide guitar and electric guitar sit on the stage as the members bring out various instruments, a sax, mini trumpets (??), clarinets, drums and electronic pedals. As the title suggests the band starts off with a chaotic, messy but exciting improvised tune. All the instruments contrast with each other, as the drums as mentioned by Jamie Hume are reminciscent of Animal from the muppets. Sarah = AMAZING drummer. The use of a 3 pronged horn mesh is great. So good. Download. Fifteen Minutes.
LAKES (SELLBOURNE SOLO STALWART)
Lakes set starts intimately, the Melbourne artist sits by himself holding a guitar strumming all strings, with the lower gauge strings all tuned to a drone chord that sets the scene for the majority of Sean’s set. Stronger moments are when the rest of his set up it explored, especially the floor tom - the interesting percussion done by himself really draws the set together joining his low tone almost Joy-Division-ish drones together with a texatured basic drumming. Loooooooong… Thirty five minutes.
COLLAPSED TOILET VIETNAM (ABSURDIST GRIND)
CTV Tonight play their set in two parts, one a blasty-noise blast of time, the second and final half a building sort of exercise. Set's a total joy, Come back again. Seventeen minutes.
- MICHAELA SOPHIE CHIN + GLEN SCHENAU
Crust contingent lapping, Hatefuck loud and aggressive music for some time of which will be noted at the end of this summary.Motherfuckerrrrrr. Highlight was where female drummer dropped a stick, and kept playing with one. Recording didn't work, as they were too grind for my iriver. Fifteen minutes.
PRESSURES ON (GOT POWERCHORDS)
Similar deal with the band previous, Style/recording wise. They replaced us at a houseshow once. More than five minutes.
LAKES (MELBOURNE IDOL UND SETLIST)
Slug guts were to open tonight's show, but as they'd kicked their drummer out earlier, they were unable to fufil tonight's show. So Lakes, up here from melbourne with CTV, filled in. As Sean began playing, crust slowly left the room. Sean had before him a guitar, a tape playing device with pre-recorded noise/melody tracks, a mic, some percussive aids, a keyboard organ and a floor tom. Thirty minutes.
SEPTIC SURGE (TRAPDOOR'S TAPE POWER 'V)
Septic Surge are tonight a drummer, bassist, two singers and noise dial machine. Said machine blocks off any inbetween song silence that may serve as a break, breather if you will. The two singers are each quite different, most obviously in stature and age (I GUESS), creating an interesting dynamic. Grind father, grind son?. Very entertaining set. Recording's not so clear, but the bass is very prominent, upped anyway. Fourteen Minutes.
COLLAPSED TOILET VIETNAM (MELBOURNE SCENE VETS PARODY A PARODY)
One bass string. 3 pedals. Highlight of set was when singer tried to get a clap going, and the mic chord fell out. Great set!, no recording as it didn't work at all. Six minutes.
Monday, September 29, 2008
http://www.mediafire.com/?1geynydj50z PART 1
http://www.mediafire.com/?ywdzt2tmzjj PART 2
I stopped the recording after the first four minutes, as I was under the impression our set had ended. Andeh insisted we keep going, so two parts. PS. Part 1 is the better. Five minutes.
TO THE NORTH (CLEAN NOODLY-JAZZO COREY)
Recording didn't turn out very well, loud volume in small closed room on small recording device. To The North played 4 songs, 3 of which were new. All three showcasing all the elements of ttn that they are now well known for. Maybe more solid though? Andeh told me they didn't play 'we are not ashamed' anymore, then they did. Fifteen Minutes.
OTTERS once again did not play a set. And I got distracted during FIRESHIPS + WOLFMAN JACK. Heard that Fireships were great though, multiple sources IN FACT.
Wednesday, September 24, 2008
FRIDAY - VIA STUDIOS/7PM
To The North
SATURDAY 27TH - RUSSIAN CLUB WOOLONGABBA/8PM
Collapsed Toliet Vietnam
SUNDAY 28TH -AUDIOPOLLEN SOCIAL CLUB - FOREST CAFE/7PM
Collapsed Toliet Vietnam
a very busy weekend for shows - Michaela
With each member living in opposing states, I thought it would be a good idea to post this recording I made back in june, as Gutters shows were all too rare in the first place. Expect more one off posts of this nature in the near future. Five minutes.
Powerful as in, dominating drone, electronics heavy, yet theres a snare-ee rattle that washes over the bed of bass frequencies that are churned from Dan's modest setup. Set gravitates around a chord sequence coloured by occasional stabs of noise. Eleven minutes.
EVERETT TRUE PART ONE (BRITISH MAN)
What would really be a spoken word set is wharped into a borderline 'musical performance with a solo vocal rendition of a young marble giants song, chosen purely on the basis that their band name contains a word that flies in the face of Everett's physical condition. He rocks back and forth nervously(?), yet his confident singing voice belittles the idea that he is at all uncomfortable in this school recital esque deal. Nine minutes.
UR (ACOUSTIC GUITAR TRINITY ASCEND INTO SPACEY)
Set starts off very modestly, with the three members building up a haze with their guitars. Mariachine. Someone mentioned space? Picks up momentum eventually, with each of the guitars growing in prescence, one laying a bed of low notes with the help of some sort of peddle, with the other two darting around picked notes ETC. A recorder is brandished at one point. Set was a little overlong.. Deep space throb like a mexi-beacon for all aliens. Seventeen minutes.
MUTTBOY (SPARSE TEST)
He (Single man) begins his set on the tail end of a particularly low brow joke from apsc mc Jamie Hume (HAPPY BIRTHDAY!). On the table before 'Muttboy lay an array of computers, a travel guitar and chords on chords. But rather than add all these ingredients together to perhaps mesh up a wall of ah, interest, he alternates between each, Subtly testing each element. The height of the set was probably where 'Muttboy plays some shrill guitar briefly. LONG. Artist's intent's a guess, blanket term. FEELS like a term. Twenty minutes.
EVERETT TRUE (MAN FROM ENGLAND)
This time, Everett starts off reminiscing about musical memories, with a story on his perspective on Daniel Johnston's career, Claiming part responsibility for his cult following. Not explicitly. This prompted he mention his asscociation with THE very Kurt Cobain, but rather than name Kurt's name, using the word 'Mother' in the place of Kurt Cobain. Kurt Cobain. More solo performance. CURIOUSLY chose to remain anonymous, until I was prompted to reveal his name+LEGACY to all in earshot. Nine minutes.
CRAB SMASHER (NEWCASTLE, TWO THOUSAND AND TWO)
Dainty guitar intro starts anew from last night's cataclysmic end. Rhythm section reduced to some clicking. Very delicate, Especially for a five piece band. Grant powers up this hummy loop that gets gradually louder through his expanse of pedals and machines. The drummers tease. Nicholas initiates a rhythm with his guitar, and the band whir into line. It doesn't last long though, with the rhythm giving way to a delicate show like there was to begin with. Very admirable restraint. Gets noisier around the end, but never as wild as last night's performance. Eighteen minutes.
JOEL STERN AND TIM OLIVE (SECOND DATE EXPERI-IMPROV(E))
BRUTAL. Joel has a strobe light adourning his end of the table they've set up on. As it flashes, a click corresponds, creating an interesting effect. Flooding noise. I forgot to note that every band that played tonight was set up in their own space, something I'd not seen at Audiopollen before. Ten minutes.
SISTERS GRIMMER (TEEN POETRY)
Theres a guitarist playing atmospherics, a violinist ticking the 'moody box and a girl at a canvas, who makes it through three or so pieces before the end of the set. At the end of each sheet of canvas, the music would hover for a bit, heralding the end of a movement. No vocals at all. Final image was a narwhal, hello BRISBANE. Eighteen minutes.
SAUCEPAN ON SAUCEPAN. FORGOT TO RECORD, GREAT SHAME. FIVE MINUTES.
JOEL STERN + TIM OLIVE (FIRST DATE ELECTRONIC/GUITAR BASED EXPERI-IMPROV STROBE)
JOEL WORE A HARDHAT. WAS ORIGINALLY BILLED AS 'MOUNTAIN JEW', BUT UNDER THE PRETENSE THAT TIM OLIVE (OF CANADA) WOULD NOT BE JOINING JOEL. TIM OLIVE OF COURSE, DID. FIVE MINUTES.
KITCHENS FLOOR (BOY GIRL ACOUSTI-DRUM BRIS BAND)
MATT AND JULIA DEBUT THREE NEW SONGS. ONE DECIDEDLY MEDIEVAL. SOME TIGHT DRUMS HAPPENING, KUDOS ON JULIA. THIRTEEN MINUTES.
BLANK REALM (ORGANI-SORT OF GROWINGLY IMPROV BAND KRAUT-ISH)
REPLACED HOLLOW EARTH. RECORDING DIDN'T TURN OUT VERY WELL, PEPPERED WITH CONVERSATION. BAND ARE STILL THERE THOUGH. TEN MINUTES.
CRAB SMASHER (NEWCASTLE NOISE IMPROV STALWARTS)
WITH NICH OF SKY HUT A MEMBER OF CRABSMASHER, I OFFERED MY RECORDING HAND ON NICH'S TASER/RECORDING DEVICE AND INSTEAD OF RECORDING MYSELF, SO A RECORDING SHOULD SHOW UP ON http://www.skyhut.blogspot.com/ AT SOME POINT. CRABSMASHER WERE *REALLY* GOOD, RHYTHM SECTION ESPEC.