STATE LIBRARY of WESTERN AUSTRALIA Tos Mahoney
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Cyclic Issue 32.Pdf
1 Cyclic Defrost Magazine Issue 32 | July 2013 www.cyclicdefrost.com Stockists Founder Contents The following stores stock Cyclic Defrost although Sebastian Chan 04 Editorial | Sebastian Chan arrival times for each issue may vary. Editors 06 Cover Designer | Jonathan Key NSW Alexandra Savvides 12 This Thing | Samuel Miers Black Wire, Emma Soup, FBi Radio, Goethe Shaun Prescott 16 The Longest Day | Chris Downton Institut, Mojo Music, Music NSW, Pigeon Ground, Sub-editor 20 Rise of the tape | Kate Carr The Record Store, Red Eye Records, Repressed Luke Telford 26 The Necks | Tony Mitchell Records, Title Music, Utopia Art Director 34 Arbol | Christopher Mann VIC Thommy Tran 40 Cyclic Selects | Bob Baker-Fish Collectors Corner Curtin House, Licorice Pie, Advertising latest reviews Polyester Records, Ritual Music and Books, Wooly Sebastian Chan Now all online at www.cyclicdefrost.com/blog Bully Advertising Rates QLD Download at cyclicdefrost.com Butter Beats, The Outpost, Rocking Horse, Taste-y Printing SA Unik Graphics B Sharp Records, Big Star Records, Clarity Records, Website Mr V Music, Title Music Adam Bell and Sebastian Chan WA Web Hosting 78 Records, Dadas, Fat Shan Records, Junction Blueskyhost Records, Mills Records, Planet Music, The Record www.blueskyhost.com Finder, RTRFM Cover Design TAS Jonathan Key Fullers Bookshop, Ruffcut Records Issue 32 Contributors NT Adrian Elmer, Alexandra Savvides, Bianca de Vilar, Bob Baker Fish, Chris Downton, Christopher Mann, Doug Happy Yess Wallen, Jonathan Key, Joshua Meggitt, Joshua Millar, ONLINE Kate Carr, Kristian Hatton, Luke Bozzetto, Samuel Miers, Twice Removed Records Stephen Fruitman, Tony Mitchell, Wayne Stronell, Wyatt If your store doesn't carry Cyclic Defrost, Lawton-Masi. -
Brisbane Gala the Triffid 4Th December 2019
BRISBANE GALA THE TRIFFID 4TH DECEMBER 2019 The Director of the NLMAs, Larry Heath, would like to send his thanks to everyone who has helped make this night possible. In particular The Triffid, our home for the Gala, as well as: The NLMAs Board... Aeron Clark (Music Tasmania, TAS) Andrew Tuttle (APRA AMCOS, QLD) Damian Cunningham (Elastic Entertainment, NSW) Dallas Frasca (Musician, VIC) Katie Noonan (Musician, QLD) Mark Smith (MusicNT, NT) Michelle Padovan (QMusic, QLD) Mike Harris (WAM, WA) Ruth O’Brien (Artist & Disability Advocate, ACT) Sian Walden (Little Acorn Music, SA) ...and all the team & volunteers! With a particular mention to our Queensland event manager Helen Nash, who has been working with us since we started. And for the invaluable assistance of Lucy Joseph on admin, Filipe Franzoni on video, Mick Radojkovic on scripts, Michael Katsavos on socials and Maddi Johnson on graphics. And of course a big thanks to all our sponsors & judges. #NLMAs Program 6.30pm: Doors Open, Drinks and Food Served 7.30pm: Opening Performance: The Blockades 7.35pm: MCs Jeremy Neale, Patience Hodgson and Aimon Clark welcome you to the 2019 National Live Music Awards 7.40pm: Queensland Awards 7.55pm: LIVE: Jack Carty 8.00pm: Genre Awards Part One 8.20pm: LIVE: Little Georgia 8.25pm: Genre Awards Part Two 8.40pm: Live Legend Induction 8.55pm: International Achievement Awards 9:00pm: LIVE: Live Legend - Deborah Conway 9.10pm: Live Photographer of the Year Live Event & Musicianship Awards 9.30pm: LIVE: William Barton 9.35pm: The NLMA, Best New Act Live Voice of the Year & Live Act of the Year 9.50pm: Closing Performance 10pm: Dessert and Drinks QLD AWARDS LIVE ACT OF THE YEAR Presented by Brisbane City Council Cub Sport Sahara Beck LIVE EVENT San Mei BIGSOUND Thelma Plum Caloundra Music Festival WAAX CMC Rocks Queensland Jungle Love Festival LIVE VOICE OF THE YEAR Woodford Jack Carty Katie Noonan ALL AGES ACHIEVEMENT Monica Sottile (Sweater Curse) To be revealed on stage.. -
The Necks Come to Castlemaine As Part of Their Australian Tour
IMPROVISATION GENIUSES THE NECKS COME TO CASTLEMAINE AS PART OF THEIR AUSTRALIAN TOUR Already on the road, the world famous improvising legends and one of Australia’s great cult bands THE NECKS return home for their much-anticipated annual Australian tour. Renowned for creating immersive, hypnotic concert experiences over two completely improvised one-hour sets, Chris Abrahams (piano), Lloyd Swanton (bass) and Tony Buck (drums/percussion) slowly conjure sound mountains out of thin air that leave audiences mesmerised. From humble beginnings over a quarter of a century ago as a private jamming project, The Necks now count Brian Eno and Nick Cave among their legions of fans. They have released 16 albums and have played packed concerts everywhere from the Sydney Opera House to The Barbican in London and Roulette in New York. More recently, in 2012, they completed two tours of Europe and the UK, garnering outstanding UK reviews from The Guardian, The Telegraph and The Financial Times, with The Telegraph’s Ivan Hewitt describing “A vast sound-mass suspended in vibrating, seething stillness, its colour and luminosity changing slowly, like a landscape observed from a car...”. 2012 also saw The Necks’ album ‘AETHER’ added to The Australian National Registry of Recorded Sound, and their legendary first album ‘SEX’ re-released through FUSE. The Necks’ commitment to the simple concept of truly “letting the music take care of itself” is at the core of their unique sound and their ability to constantly create exciting, engrossing music for themselves and their audiences. No two Necks concerts are ever the same. -
Australia Council Support for Music
Inquiry into the Australian music industry Submission 98 AUSTRALIA COUNCIL FOR THE ARTS SUBMISSION TO THE STANDING COMMITTEE ON COMMUNICATIONS AND THE ARTS INQUIRY INTO THE AUSTRALIAN MUSIC INDUSTRY OCTOBER 2018 1 Inquiry into the Australian music industry Submission 98 Committee Secretary Standing Committee on Communications and the Arts PO Box 6021 Parliament House Canberra, ACT 2600 Dear Secretary, The Australia Council for the Arts welcomes the opportunity to provide this submission to the Inquiry into the Australian Music Industry. As the Australian Government’s principal arts funding and advisory body, the Council invests in artistic excellence through support for all facets of the creative process; increases awareness about the value of the arts; and is committed to the arts being more accessible to all Australians. Conducting, commissioning and publishing research into, and about, the arts is a key function under the Australia Council Act 2013.1 This submission outlines the role Council plays in supporting and promoting the diverse, excellent and energetic contemporary music culture. We would welcome the opportunity to discuss this further with you. Yours sincerely, Tony Grybowski Chief Executive Officer Australia Council for the Arts 1 Australia Council Act 2013 s.9 (Aust) 2 Inquiry into the Australian music industry Submission 98 Contents Executive summary 4 AUSTRALIA COUNCIL SUPPORT FOR MUSIC 7 FACTORS CONTRIBUTING TO GROWTH AND SUSTAINABILITY 9 Music practice 9 Disruption and resilience 11 Live music 14 Festivals 15 National -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
Reimagining the Double Bass: Lloyd Swanton and the Necks
JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNAL OF OF THE THE MUSIC UNIVERSITY COUNCIL OF OF ADELAIDE AUSTRALIA REIMAGINING THE DOUBLE BASS: LLOYD SWANTON AND THE NECKS n this article, I address how Australian-born bassist Lloyd Swanton has reimagined BENJAMIN PHIPPS the role of the bass in The Necks and, in doing so, expands on the musical practices with which the bass player is associated in academic literature. Drawing n Ion fieldwork with Swanton and musical investigation, I provide a perspective on Office of Pro-Vice Chancellor Swanton’s processes of making music through the lens of his most well-known project, Education and Student Experience The Necks, a collaborative ensemble with pianist Chris Abrahams and drummer Tony University of New South Wales Buck. I argue that the equal ensemble role and the removal of soloing in The Necks Kensington creates a context in which Swanton reshapes the role and sound of the bass. Integral NSW 2052 to reimagining the sound and role of the bass is an element of cultural hybridity. I Australia also suggest that the sound of the bass and the role it plays is more diverse than the academic literature presents and actively shapes music making, a change that has been occurring since the 1960s (Dowdall 2018). The case study of Swanton suggests a vision for the bass role that does not necessarily need to keep precise metric time but can mark time differently and can be a primary source of musical information even [email protected] when notn soloing. This musical role would not be possible if the hierarchies of the ensemble were not levelled by the removal of the soloist as the featured performer in The Necks. -
1 the NECKS: a UNIQUE KIND of SUCCESS Eric
THE NECKS: A UNIQUE KIND OF SUCCESS Eric Myers interviews Lloyd Swanton ______________________________________________________________ [This piece appeared in the Aug/Sep, 1999, edition of JazzChord] he members of the Sydney trio The Necks have achieved a unique kind of success. Not only have they developed a substantial following in a number of Australian cities, T regularly drawing audiences of between 200 and 400, but also, after beginning to perform in Europe only in 1998, are soon to commence their third tour there, and without subsidies from bodies such as the Australia Council. What is the explanation for this success, which is so unusual for a jazz-orientated trio? Or, is it because their music isn’t quite orthodox jazz, that it has appeal to many who don’t relate to the jazz tradition? Their music is perhaps best described on their own web site at www.thenecks.com “Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, the six albums by The Necks stand up to re- listening time and time again. The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.” The Necks comprise Chris Abrahams (piano), Tony Buck (drums, percussion) and the bassist Lloyd Swanton. I spoke to Lloyd recently, and asked him to explain the Necks phenomenon. “It is hard for us to be objective about [our success],” says Lloyd, “and I would preface this by saying that the success we’re seeing, while heartening, is still on a fairly local scale, and, considering we’ve been together for 12 years, hardly premature! First up I should stress that there are really two versions of The Necks- the live Necks, and the recorded Necks, and they’re quite different things in a lot of ways. -
1 the NECKS: a UNIQUE KIND of SUCCESS Eric
THE NECKS: A UNIQUE KIND OF SUCCESS Eric Myers interviews Lloyd Swanton ______________________________________________________________ [This piece appeared in the Aug/Sep, 1999, edition of JazzChord] he members of the Sydney trio The Necks have achieved a unique kind of success. Not only have they developed a substantial following in a number of Australian cities, T regularly drawing audiences of between 200 and 400, but also, after beginning to perform in Europe only in 1998, are soon to commence their third tour there, and without subsidies from bodies such as the Australia Council. What is the explanation for this success, which is so unusual for a jazz-orientated trio? Or, is it because their music isn’t quite orthodox jazz, that it has appeal to many who don’t relate to the jazz tradition? Their music is perhaps best described on their own web site at www.thenecks.com “Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, the six albums by The Necks stand up to re- listening time and time again. The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.” The Necks comprise Chris Abrahams (piano), Tony Buck (drums, percussion) and the bassist Lloyd Swanton. I spoke to Lloyd recently, and asked him to explain the Necks phenomenon. “It is hard for us to be objective about [our success],” says Lloyd, “and I would preface this by saying that the success we’re seeing, while heartening, is still on a fairly local scale, and, considering we’ve been together for 12 years, hardly premature! First up I should stress that there are really two versions of The Necks- the live Necks, and the recorded Necks, and they’re quite different things in a lot of ways. -
Boys the Music Credits
Music by The Necks original music by The Necks published by Sony/ATV Music Publishing recorded and mixed by Ross A’Hern, Sony Studios music consultant Sean O’Brien ‘Hard On’ courtesy of Steve Lucas written & performed by Steve Lucas & A.R.M. ‘Beauty’ performed and composed by Allan Lamb courtesy of Dorobo Records Promotion: The music was used to promote the film and was made a feature in the DVD releases: CD: A CD of the soundtrack was released, and was re-released in 2004: Reviews: The Necks were promoted in a story in The Age on 19th September 1997: The disc was reviewed in the Sunday Age on 28th June 1998: The disc was reviewed in The Age on 6th August 1998: There are many other reviews of what became a cult item - this BBC review by Colin Buttimer in 2002 will serve as a sample and is available online here: As most other reviews of this release have noted, the big deal is that it comprises seven short tracks. The shock horror of this will need some explanation to those unfamiliar with Australian improvising trio The Necks: all their previous releases comprise one or at most two lengthy tracks. The shortest piece on The Boys clocks in at a mere three minutes and fifteen seconds (although three tracks do stretch to a shade over ten minutes). That's still, relatively speaking, a blink of the eye for the group. Which inevitably prompts the question as to whether the cumulative power of The Necks' music is diluted by its relative brevity on this outing. -
Coolerators-Diggin' Bones-PR-Draft4-JD
The Music Outpost Promotion Contact: Joyce Email: [email protected] Skype: Joy in DC Phone: (301) 589-8894 Artist: PHILLIP JOHNSTON & THE COOLERATORS Album: DIGGIN’ BONES Genre: Jazz Label & Catalogue #: Asynchronous 003 Release Date: September 2018 Phillip Johnston & the Coolerators: Diggin’ Bones (Asynchronous 003) Diggin’ Bones Down Under: NY Jazz Composer & Saxophonist Phillip Johnston (Microscopic Septet) Joins Forces in Australia with Bassist Lloyd Swanton (The Necks), Organist Alister Spence & Drummer Nic Cecire to Coolerate a New Sound & Release an Animated AlBum When composer / saxophonist / bandleader Phillip Johnston, leader of New York’s legendary jazz ensemble The Microscopic Septet, moved from the Big Apple to Sydney, he assembled several of Australia’s best musicians – Alister Spence, Lloyd Swanton, Nic Cecire – and began brewing a distinctive and lively Down Under ensemble. The Sydney-based Phillip Johnston & the Coolerators now releases its first album, Diggin’ Bones, whose unique sound combines funky organ combo jazz with modernist jazz composition, including a touch of klezmer. Produced by The Necks’ Lloyd Swanton and featuring some of Australia’s finest jazz/multi-genre improvisers, Diggin’ Bones shows a new side of Johnston’s music. The Coolerators brings together two of Australia’s most internationally acclaimed touring musicians, Alister Spence (Alister Spence Trio, Clarion Fracture Zone, AAO) and Lloyd Swanton (The Necks, the catholics) with one of Sydney’s most in- demand rhythm section players, Nic Cecire. The music covers a range of styles but avant organ jazz is at the centre of it. Johnston has led Phillip Johnston & the Coolerators since 2005, alongside several other live performance and recording projects, including Sydney’s Greasy Chicken Orchestra and New York’s Microscopic Septet, and while extensively touring with Wordless!, his multi-media theatrical collaboration with illustrator Art Spiegelman and the band The Silent Six. -
Varieties of Freedom in Music Improvisation
Open Cultural Studies 2018; 2: 781-789 Research Article Les Gillon* Varieties of Freedom in Music Improvisation https://doi.org/10.1515/culture-2018-0070 Received March 11, 2018; accepted November 16, 2018 Abstract: This article considers the freedom for the musician that exists within different kinds of music improvisation. It examines the constraints, conventions and parameters within which music improvisations are created and identifies three broad strands of improvisatory practice, that have developed in response to the development of recording technology. It argues that non-hierarchical, pan-ideomatic and structurally indeterminate forms of music improvisation that began to emerge in the late 20th century represent a form of music that models and expresses the felt freedom of the improvising musician. Keywords: music improvisation, Jazz, composition, experimental music, sound recording, freedom, Dave Brubeck, Cream, Ornette Coleman, Keith Jarrett, The Necks, Can The freedom afforded the improvising musician is often contrasted with the discipline demanded of the classical performer. As the pianist, Dave Brubeck put it, “Jazz stands for freedom. It’s supposed to be the voice of freedom: Get out there and improvise, and take chances, and don’t be a perfectionist—leave that to the classical musicians” (Duncan 1989). Although this characterisation of improvisation may tempt us to identify improvisation as an individualist activity, it is important to remember that improvisatory music is more often performed by an ensemble of improvising musicians, of which Brubeck’s own quartet was a typical example. In an ensemble, the freedom of the individual musician is not absolute. Group improvisation offers challenges to the musician and raises questions about what is meant by “freedom” within the context of collective music creation. -
The Sydney Con Jazz Festival
Sydney Con Jazz Festival 2021 30 May Welcome to the On behalf of the Sydney Conservatorium of Music, it is my pleasure to welcome you to our Sydney Con Jazz 2021 Jazz Festival. For this fourth instalment we are grateful to be able to present an incredible Festival program of new works, existing masterpieces and fresh collaborations by some of our finest Presented by the Sydney musicians. Conservatorium of Music and Staging this festival presented some the Open Academy in Association challenges…how do we stage an international with SIMA jazz festival when international travel is David Theak David essentially non-existent? We couldn’t expect visiting artists to quarantine for weeks just to Artistic Director perform a concert at our boutique festival, or risk that their flights would be cancelled, so we did what jazz musicians do, we improvised and created a program that capitalised on these unique circumstances which led to some of world’s most creative jazz musicians seeking The Sydney Conservatorium of Music is refuge within our borders. delighted to welcome so many lovers of jazz into the building for our fourth annual Their stories included some incredible tales of Jazz Festival. Jazz has been at the centre fleeing NY with 24 hours’ notice with a young of our curriculum since 1976 and many of family in tow or having a world tour performing our graduates have become key players with Pat Metheny cancelled at short notice. in the field. It is wonderful then to give Within these trials and tribulations, there still our current students, and the public, this exists a burning need for our festival artists great opportunity to hear and work with to create and perform and these stories, only Australia’s and the World’s best during the strengthened our resolve to present a festival and Dean festival! It is extraordinarily exciting watching which is our most diverse and creative program students’ music grow in new ways when to date.