Fragmented Frequencies July 16


You don’t need musical instruments to make music. Possibly the most startling example of this is Alan Lamb, who recorded the sounds of wind on decommissioned power lines in outback WA, capturing the savagery and beauty of a giant Aeolian harp played by mother nature. He put out a couple of albums in the early 90’s, Night Passage and Primal Image/Beauty on the sadly defunct Dorobo label – there’s even a remix album featuring Ryoji Ikeda and Lustmord. More recently Melbourne experimental artist Tim Catlin has been working with aluminium rods. He’s created an instrument he calls the Vibrissa. These (12) rods are vertically mounted and then stroked using gloves and rosin. Sure it’s a little phallic, but it creates curious pitches and a harmonic complexity, as the tones just sustain and hang in the air – singing if you will. In 2012 he formed The Overtone Ensemble with Atticus Bastow, Philip Brophy and David Brown, and this month they’ll release their debut album on Massachusetts’ Important records (Pauline Oliveros/ Acid Mothers Temple/ Morton Feldman). The album is a remarkable suite of electronic sounding acoustica, with massed hand-bells, quarter-tone bells, e-bowed acoustic guitars, re-tuned glockenspiels, wineglasses and long wire instruments. It’s a whole new world and a feast for the ears.

I don’t know anything about Seymour based Tackle, other than him/her/it’s Benzedrine EP is incredible. It’s released on Australian/ Berlin label Another Dark Age, and between motorik percussion, hissing snares, dark rumbles, and forward pushing momentum, it’s bleakness you can dance to.



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