CSM 37: My World, This Time
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Item Open Access Cameron Goold: DodginomicsComposer: Cameron GooldDodginomics tackles social, political and economical aspects of our society. The economy. A world shift. We see the rapid growth of the corporate dollar, whether it is banks or phone companies accruing major profit only to cull jobs or fold completely. We've seen the shift in policy on border protection through dog whistler politic. We've seen change in immigration policy to a return of the 50s ozzie model. Or in the recent budget, with a shift from health to war: 'money from medicine - penicillin to pistols'. Dodginomics - a composition of slammin beats - twisted, distorted and laid down by producer Cameron Goold, featuring the vocal talents of Arnold Slamm, aka Cam G. A virtual scape of 'my world, this time', Cameron has produced a 'sonic portrait' - a barrage of beats intertwined with the haunting shrill of the gumleaf melded with a dare-say la bafoon pastiche, combined with a to-the-point mc'd twist on the world in its present climate.Item Open Access Simon Aveling and Robbie Buck: CloudComposer: Simon Aveling; Composer: Robbie BuckSimon Aveling and Robbie Buck live 'midst the synchronous spheres of land, air and sea' near Sydney in Australia on Earth. The grace of lights flow here, the pure fragrant breezes, and while protecting, uplifting and nurturing, these nonetheless keen our pain at the loss of those here before us and the loss of those to come as our race continues to contract towards a uniquely self-realised (in advance) fate - a time like no other, fraught with fear and dishonour. Yet still, in our love we know and trust the message of Uncle Ted Guboo - 'the best is yet to come!'. This song is originally by our friend Phoebe Jeebe (ex Alternahunk/Funky Terrorist). It is the last music she recorded before immersing herself in a visual media career in London. Broadening this personal realm to the world at large through sounds from home/radio is our bittersweet privilege. Thanks for listening...Item Open Access Damian Castaldi: In Pekina We BarkComposer: Damian CastaldiDuring the early summer of 2001 I'm sitting near a dusty road winding through the wheat belt of the Flinders Ranges. Flies hunt me down as the wind, wheat, birds and dogs ride on the breeze. The heat is dry and hot and the shady verandah of the old stone dance hall cradles all. Across the road the one and only neighbour's dog barks contentedly. Eleven people live in Pekina and only six remain. The closer I get the louder the bark. The wind and fences, the movement inside the hall, the empty ruins and sheds, the farms, pub, church and road are all amix with their own sound. I am a stranger to this world at this time and there is music in the hall. The doors are open and we play. Local sounds/keyboard improvisations/Hi-Hats and post-GeolEdit 'time stretching' are some elements used (all original recordings by sodacake).Item Open Access Mark Holder-Keeping: Steel SeaComposer: Mark Holder-KeepingThis piece symbolizes the ambiguity of Wollongong's cultural identity as a beautiful coastline and industrial haven, by morphing the sounds of the steelworks with the ocean. It is difficult to pinpoint when the sound of the sea finishes and the steel works begins. The sound of steel production at Wollongong is deceptively similar in its serenity to the sound of the waves crashing against the rocks at Kiama's blowhole. Growing up in Kiama, the sound of the ocean, especially at night, was a significant part of Mark's childhood. Improvising over these sounds are the shakuhachi, fire alarm bells and saxophone. Mark himself made the shakuhachi using local bamboo, and collected fire alarm bells, chosen for their particular tones, from a demolition yard. The saxophone has also been included, as Mark often plays it at the beach near the steel works. The shakuhachi is played by Elle Holder-Keeping.Item Open Access Ros Bandt: Kim's SongComposer: Ros BandtKim's Song is based on a recording of a Vietnamese children's song I made in Springvale Victoria. This young Australian Vietnamese, little Kim, recently started school and now prefers to sing Australian rather than the Vietnamese songs she learnt at home from her Vietnamese parents. The Vietnamese song she sings is about animals in the food chain, being hunters, but also being hunted. It becomes overtaken by Kookaburra Sits on the Old Gum Tree, here representing the dominant English speaking culture in which she is living. The song comes in and out of various contexts. A landscape of place is created with the treated and untreated layer of Inanaya, an Indigenous song sung by my partner's Aboriginal grandchildren, also living in Melbourne. It will be up to little Kim to make the world and her place in Australia hers. Her identity and language patterns will ultimately be shaped with how she interprets being born of migrant parents in Australia, the prevailing peer groups and influences and the Indigenous Australian heritage. She will make it her world in her own time in her own way.Item Open Access Andrew Kettle: Cunningham's GapComposer: Andrew KettleCunningham's Gap explores Kettle's shared love for the landscape and its perceived spirit that moulded his childhood in Uragupul territory. The remnant language that was documented of the Uragupul people of Whinpullin died with Bunjoey. Most languages of South-East Oueensland were considered to be irreversibly destroyed by 1923. As a result, no fluent speaker of the language particular to this landscape survives. Thought of as a wind, the tones and rhythms of the words are part of the landscape themselves. As a child in Boonah, I enjoyed standing in strong wind and listening to the buffeting on my ear drums. I used to think that I might hear voices. Giberair bukhar kootchi murri dhago whinpullin. Yagari darum yummer. Oonar. Wallingera bung undin tandur. Denyarivar Murri buaraoa wiam. Murri bun gundin Gunool. Yagari Cappoong. Kootchi murri yugara wi repi.Item Open Access Dave MacRae: ComputerscapeComposer: Dave MacRaeEvery week I travel by public transport to the city, and almost at the end of my journey I walk through the tunnel underneath Central Station (Sydney). As I take this three- or four-minute adventure, I am saturated by the sounds of buskers, some old, some young, some groups, and stylistically all different. Many feet walk or run this path, depending on the urgency of each pedestrian's mission. Conversation and the general pressure of humanity are always different and always powerful. I have constantly found this little trip fascinating and it is certainly part of my sound world today. I hope others will enjoy the trip I have prepared here and at the end, their ascension into the quiet and ubiquitous 'windows world'.Item Open Access David Sudmalis: Townsville Snapshot - An Audience with Sue AlbanusComposer: David SudmalisUsing the voice of North Queensland-based artist and educator Sue Albanus, this work explores in sound and text a number of social issues relevant to regional Australia: relative isolation; the importance of community groups in assisting in the maintenance of identity and self-worth; and the contribution of individuals who, through their resilient and pro-active disposition, are able to make a difference to the community in which they live. Complementing this textual base is a musical one that aims to reflect aspects of the physical habitat of the region: long, flat bass tones constantly shift colour and register in a manner of the arid earth of the environ; points of light illuminate the upper registers reminiscent of the spectacular starry skies; and aggressive rumblings emulate the attempts of the natural environment to reclaim the land now concerned with suburban and industrial development. The concepts of aridity are also used extensively in the mixing process - a sense of dryness, crackling and popping are evident in the final product.Item Open Access Leon Ewing: Foreign PolicyComposer: Leon EwingI think we define our culture and ourselves by how we treat others. Like many Australians, I find the treatment of asylum seekers to be less than compassionate. I wanted to explore the background of recent events with a sound piece that gave the current political situation a human face, one often ignored in the political grandstanding of an election campaign. The EarClip begins with looped mini-disc recordings of kids singing and playing in Kashmir, recorded by Mike Frencham and his fiancee Kate. It is layered by contemporary opera singer, Melissa Madden Gray, singing on a street corner in Varanasi. The rhymes reflect on the hypocrisy of Western corporate and cultural exploitation of Third World workers, and on the consequences. The outro shifts our attention back to home and juxtaposes recordings of Tibetan bells with a soundbyte of eyewitness accounts of asylum seekers being 'processed' off the coast of Christmas Island. The musicians featured in the track are my hombres: Harley Rea on guitars, Duane Rea on bass and Sam Steadman playing hand percussion and drums - combining elements of hip-hop, funk and very metal noise pollution: they are Macano.Item Open Access Garrie Stewart: The Keeper of Records LostComposer: Garrie StewartI have created a track based on the idea that 'my world' exists because of the past, and that 'this time' is merely a snippet, or cross section, of that timeline. The samples used in this track were taken from a variety of tapes, including voice samples from rediscovered recordings of my parents (made around 1974-1975) and other found sounds. The sonic components were collated, arranged and only slightly manipulated on (a very temperamental!) computer, with the addition of vocals and spoken word samples (Kristine Lockwood) and synthesized/sampled piano. The voices blend into each other and create a sense of narrative - the effect of tape decay (caused by multiple re-recording and playing) on the sampled sounds representing the natural deterioration of memory. Over time our perception of where and how we locate ourselves within our 'recalled' or 'recorded' history changes with our environment, manifested here as a magnetic landscape.Item Open Access Jim Denley: Alone at UndaraComposer: Jim DenleyAlone at Undara is a mix of recordings made at Undara volcano. The volcano is one of 160 volcanoes in the McBride Volcanic Province, which lies about 200 kilometres southwest of Cairns along the crest of the Great Dividing Range. The province is about 80 kilometres in diameter and is characterized by numerous cones and broad lava plains. Volcanism began in the McBride Province about three million years ago, and the lava flows at Undara are some of the longest on Earth, reaching lengths of 160 kilometres. These recordings were made in October 2001. I played with rocks: scraped, hit, balanced, crushed and dropped. As I walked through the bush it was possible to hear the extreme dryness, and I have recorded my breath with flies buzzing around my head. I juxtapose these recordings with my heartbeat, filtered and processed digitally, to enhance the bass frequencies, to create a kind of body bass melody. I wanted to capture the aloneness and immediacy of a single figure in this vast and elemental landscape to reaffirm the important relationship all of us have to the land, in our world at this time.Item Open Access Mastaneh Nazarian: Flowing PiecesComposer: Mastaneh NazarianFlowing Pieces is a short journey through the world of language via an abstract poem. I have taken the opportunity in creating this radio work to explore linguistic perception as related to the flow of time during which the poem is read in four distinct and unique languages. Each of the languages represents various phases of my life. Farsi is my mother tongue; Hebrew relates to my cultural/religious roots; French is the 'unofficial' second language of Iran; English is the language of my new environment. The richness of these cultures constantly flow through my world of thoughts, actions, dreams and desires. They contribute to my mind's inner linguistic/aural thinking and patterning. Flowing Pieces is a narrative/collage that treats spoken word both as 'language' and 'sound object'.Item Open Access Colin Bright: Sun, Surf and SexComposer: Colin BrightI have been swimming and surfing my whole life, from early youth through to the present time. My early adult years were spent mostly at Bondi Beach, and I have lived at Dee Why Beach for the past 25 years, where I still swim and surf. I love summer and the hot weather it brings - even heatwaves. If it were in my power I would live a life of Endless Summers. The beach aesthetic is one of freedom of spirit, pure-hearted fun, and a connectedness with nature's beauty and power. Nevertheless, the beach represents our final acquiescence of a sunoriented lifestyle - one that is appropriate to this climate. The beach can be a refuge from the outside world, but the beach has its own historico-cultural story to tell. In fact, beach history can be seen as a microcosm of the cultural development of society at large. There are 'freedoms' taken for granted on the beach now that have been fought for over many years.Item Open Access Minus Eleven Error: Returning v2.1Composer: Minus Eleven ErrorI learned to love noise being involved in the london punk scene in 1976-1977 as guitarist for a band called the violators playing the roxy club as support for such luminaries as xtc, siouxie and the banshees, and squeeze / i celebrated thatcher's election by catching a plane to Sydney in 1980 and i have divided my time between europe and australia ever since i became interested in working with computers in the late 80s being excited by the idea of a machine that could generate random elements and make decisions - i also enjoy letting the (limitations of the) machine influence the aesthetic of the work and thus a piece of superseded technology is often more interesting to me than a new one - only when a better newer product becomes available and desirable, can something begin to reveal its true aura / i see the role of linear media like radio and audio cd as affording a snapshot of a dynamic work which continues to shift and change and so it is with my EarClip (Returning v2.1) which was also presented in a very different context as an installation running off several vintage computers at the wagga wagga regional art gallery as part of my solo exhibition there.Item Open Access Alison Cloustan and Boyd: BackburnComposer: Alison Cloustan; Composer: BoydTwo artists working on the volunteer crews during the New South Wales bushfires of January 2002 were inspired to interview their fellow Wollondilly Brigade members. Boyd is a saxophonist and composer who uses environmental sound to inspire his instrumental compositions, and Alison is a visual artist who has incorporated sound in her installation work. Here they collaborate to weave the diverse voices of their brigade together in a metaphorical soundscape of the backburning process. The rumble of the fire-pump is recorded live, the extinguishing hiss of steam is a log doused in a billy of water. An inferno of flames is suggested in the roar of wind and spit through a saxophone, and the baritone sax harmonics mimic the metallic shriek of bulldozer tracks on rock. Through this assemblage of aural materials people's memories are woven to make a fabric as dense and bright as standard-issue overalls, with the same reflective flashes stitched in.Item Open Access Boo Cahpple: Onbeing.data_linkComposer: Boo Chappleonbeing. data/link deals with the way in which we, as human agents, are encoded in or interfaced with information processing systems. It illustrates how these systems perform cultural and linguistic censorship, and highlights the dilemma faced as we move into an era where voice recognition interfaces are the norm. The work expresses a sense of discomfort at the way in which we are becoming ever more constrained by government and corporate access to our personal information. It also gives a sense of the second-class citizen approach often adopted by members of the bureaucracy towards people on welfare payments. Structurally the piece uses iterative digital processing of sounds (data, information) and layering to create information overload/noise.Item Open Access Anthology of Austraian Music on Disc: CSM: 37 My World, This TimeCarroll, Mark; Rendle-Short, FrancescaItem Open Access Michael Whiticker: Water SongsComposer: Michael WhitickerLiving in North Queensland - one of Australia's wettest regions - I've become somewhat accustomed to heavy rainfall. Sitting through a torrential downpour recently, I contemplated the life of a single raindrop, deposited on the mountainous hill at the bottom of which we live. A creek splits our yard, and when the hill is taking a sodden beating it sends its load down through our place and away into the drains submerged beneath the road, and eventually to the sea beyond. The watery journey is here accompanied by a virtual flotilla of popular songs, all of which celebrate water in one form or another. Water Songs: The water of Townsville, North Queensland, accompanied by the La Luna Children's Theatre Group and tutors.Item Open Access Colin Black: Summer SolsticeComposer: Colin BlackSummer Solstice is an electro-acoustic impressionistic experience of summer in Australia. An algorithmic procession of voice samples, condensed through filters, effect units and spectra gating underpins the composition, echoing sun spots and the revolution of daylight. Except for one melodic keyboard line, Summer Solstice is composed entirely from voice samples. This processed pulsating layer of sounds communicates the sheer heat, the dry winds and the overwhelming intensity of an Australian summer. Over this layer are the unfiltered utterances of a 70-year-old farming woman, whose voice and accent express a peculiarly Australian cultural identity. The work is titled Summer Solstice because I wanted to capture the theme of the decay that begins at that part of the annual cycle. The days have reached their peak and begin to decay into shorter periods. Anything left on the land after harvest burns and dries out. People begin to long for cooler weather.Item Open Access Lulu Ong: Turn of the Century TideComposer: Lulu OngMy world, this time, stands at the crossroads between river and ocean (Tweed and Pacific); one state to another (New South Wales to Queensland); urban and rural; one year to another; one century to another. Turn of the Century Tide is a threeminute reflection on this juncture, and an intimate diary of the elements that made up my world at that time: the insect sounds at the Witch's Fall trail, Mt Tambourine; the ducks and other wading birds in the pond in our backyard; the crackling of barbecues and our idle chatter on the eve of the new century; the neighbours' kids playing with firecrackers and party poppers; waiting at the end of the runway at Coolangatta Airport for planes to come in; waves on rocks at Kirra beach; and distant thoughts on hot summer afternoons.