GRM Immersion Festival in Paris, European Dates; November 2017.

I will be returning to Paris in mid-November to perform at the GRM's "Immersion" festival. Preliminary information:

http://www.maisondelaradio.fr/immersion

This looks to be an amazing event, held in L'Auditorium De Radio France at Maison de la Radio, with pieces & performances by Eliane Radigue, Chris Watson, Biosphere, and myself on the 11th, then a program of classic Musique Concrète by Parmegiani, Ferrari, Xenakis, Reibel, & Bayle on the 12th. 

I'm scheduled to land in France on the 9th of November, after which I'll spend a few days in the studio getting reacquainted with the Coupingy & Publison machines in preparation of performing a thematically-specific "Redaction".

Note that I'm actively seeking bookings for the days after the 12th in nearby locales; likely I will stay in greater Europe until at least the 20th. Currently working on events in Milan, Belgrade, and Oslo. Please get in touch via the Email page on this site if you'd like to host a concert or a talk. 

Late Monoliths, 2011-2013.

Since moving to Australia in late 2015, every year, on my birthday, I tend to realize an edition of some sort on Broken-Music's in-house label Industrial Abbotsford; last year was the run of 25 hand-cut copies of the "Halle (Salle)" LP, and this it's a six-disc set of "Automatic" synthesizer works entitled "Late Monoliths, 2011-2013."

The pieces on this set all use the same methodology; a particular combination of elements specific to the Hybrid Digital-Analogue setup I've been slowly refining over the past 15 years was dialed in, set in play, then captured over the course of roughly an hour, with little to no intervention. All of the sounds originate from within the system itself, and were subjected only to subtle augmentation in the mixing & mastering stages.

Of the scores of recordings made during this stretch, these six were chosen as they show a clear progression from rather ecclesiastic, melodic forms - the first three discs - into more challenging material. As a general guide, I recommend listening to one disc, once a week, during an hour that you put aside for listening. In the traditional of Indian Carnatic music, the first three discs are more "morning" appropriate, and can be heard at a moderate level - the last three are more "evening" and are best given a little more volume. In no way is there an emphasis on chronology, other than that the pieces are presented in the order they were recorded; feel free to mix & match, and in fact disregard pieces that you favor less.

If you see a pattern emerging here it's because you're familiar with Douglas Leedy's seminal "Entropical Paradise" set, on which this enterprise is loosely based; I have been scheming for decades to riff on this exact modus, this is the eventual result. I'm normally not one for dedications, but I feel compelled to invoke the memory of Richard Lainhart, who ushered words of kindness and encouragement on several occasions when I was absolutely ready to throw in the towel right around the time these were being laid to tape; that and the fact that his 1974 piece "White Night" was- and is a clear influence on how these pieces took shape. RIP Richard.

Catalonia, Greece.

In a few days, I'll be revisiting the "Playthroughs" setup in Barcelona at Rafael Moneo's exotic L'Auditori on the 18th of May as part of the Sampler Series, followed closely by a pair of "Generators" under the Cicle OUT.SIDE banner in Lleida & Amposta on the 20th & 21st.

From there, I'll make my way to Athens for a fantastic gig as part of Documenta 14 at Romantso where I'll be dovetailing "Redactions" amidst "Electrical Walks" by Christina Kubisch; that's on the 25th. Details for all of these are live on the Events page. First time in Athens, please get in touch if you'd like to meet up on the days leading into the performance there.

Here's a raw, unedited, 30 minute rehearsal take made while updating & extending the "Playthroughs" setup in preparation for the Sampler Series concert; it feels good to revisit this material & I look forward to exploring the new possibilities offered therein:

San Francisco, Los Angeles, Vancouver.

I have officially been added to the second day of the incredible Don Buchla Memorial Concert at Gray Area in San Francisco on the 22nd & 23rd of April. Aside from my well-documented affinity for Don's instruments - they're at the center of my "Multiples" album from 2005 - this will be an amazing opportunity to perform an all-Buchla "Redactions" iteration, hinging heavily on recordings made on historical & contemporary Buchla instruments at Harvard's HUSEAC, EMS Stockholm, Banff Centre for Arts and Creativity, and countless other studios around the world over the past two decades.

Details are live on the Events page; incredible lineup featuring Morton Subotnick, Suzanne Ciani, David Rosenboom, Jessica Rylan, Bob Ostertag, Laetitia Sonami performing Eliane Radigue, George Lewis, Alessandro Cortini, Marielle Jakobsons, Peter Blasser, Richard Devine, Curtis Roads, and may others. 

I will be flying in from Melbourne specifically for this, although with a little hustle and the help of Tim Leanse & Constantine Katsiris, I've been invited to Los Angeles and Vancouver during this time abroad, where I will present "Redactions" on the 27th and the 29th of April, respectively. Afterwards, I'll be working on music projects in Vancouver until the 3rd of May. Please get in touch if you'd like to meet up for a coffee, beer, record-shop jaunt, etc. I haven't been to the west coast in over 4 years at this point, we have much to catch up on. 

While rooting through the archives for unreleased material for the "Buchla Redactions" I came across these two, thematically unrelated pieces, recorded during my first session with the San Francisco Tape Music Center's Buchla Music Box 100 at Harvard's HUSEAC in 2003; enjoy!

Update; fantastic trip, as expected. The Buchla memorial was a beautiful thing, all of the performances I caught on the second day were fantastic, and it was great to be able to explore San Francisco for the first time in ages. Had a great recording session there as well that bodes well for the future. The concert in LA was similarly magical, as were the Vancouver session & performance.

Below are a Soundcloud embed of my set at "The Rattle" (especially happy with the polyphonic "Generators" breakdown halfway through) plus a lovely film of my set at the Buchla festival.

Germany.

I'm back at home Australia after a wonderful couple of weeks abroad, but I'll be already be heading back to Europe shortly to attend & perform at the 30-hour "The Long Now" event, programmed by the Berlin Atonal folks as part of the Berliner Festspiele under the MaerzMusik umbrella at the cavernous Kraftwerk space behind Tresor & Ohm.

This starts on the evening of March 25th & heads straight through to midnight on the 26th, with installations & performances of pieces by C. Christer Hennix, Alvin Lucier - both will be in attendence! - Brian Eno & Robert Fripp, Chris Watson, Tim Hecker, Leyland Kirby, William Basinski, Wolfgang Voigt, Caterina Barbieri, and many others, including a stacked early program with Andrea Belfi & Francesco Donadello, Kara-Lis Coverdale, and myself right at the opening bell.

I'm planning a special "Kraftwerk Redactions" set incorporating materials gathered in the venue's blighted extremities the night before during sound-checks & room-tunings; I hesitate to the use the word "Industrial" as it'll end up an ecclesiastic wash of 8-second reverb, regardless of the approach taken, but that's where my head is at.