Read Ebook {PDF EPUB} Erewhon Calling Experimental Sound in New Zealand by Bruce Russell The Wire. The world's greatest print and online music magazine . Independent since 1982. Search inside issue 348 of The Wire. Access to The Wire ’s online archive of back issues is available to subscribers. Issue 348. February 2013. Oneohtrix Point Never Brooklyn synth explorer Daniel Lopatin talks technological illusions, video game theory and cinema for the ear with Derek Walmsley. Joshua Abrams The former bassist in Town And Country and The Roots is discovering the hypnotic gimbri tones and Gnawa rhythms of North Africa. By Bill Meyer. STEIM Will Montgomery meets the wired alumni of Amsterdam’s STudio for Electro-Instrumental Music, currently in its fifth decade of sonic innovation. Invisible Jukebox Ricardo Villalobos Berlin’s Minimal Techno master endures a marathon set from The Wire ’s mystery record selection. Tested by Alexander Samuels. Bites Jessica Kenney’s meditational music; Patrick Farmer rewrites the book on field recording; walking in Black Sabbath’s footsteps; plus Unofficial Channels. Cross Platform Cara Tolmie The Glaswegian artist explains her unsettling, tumultuous public actions. By Louise Gray. Global Ear Tbilisi Matthew Collin detects the first cracklings of a post-Soviet Georgian electronica scene. Subscribers’ Releases of the Year 2012 Wire readers choose their favourite music of the past 12 months. Collateral Damage Mark Fell argues that the limits of technological systems do not frustrate creativity. Epiphanies John Dack celebrates the theories and practice of Karlheinz Stockhausen and Pierre Schaeffer. The Inner Sleeve David Markey on ZZ Top’s Tres Hombres . Print Run. You Can’t Sing The Blues While Drinking Milk by Little Annie aka Annie ‘Anxiety’ Bandez Erewhon Calling: Experimental Sound In New Zealand edited by Bruce Russell Music, Sound And Technology In America: A Documentary History Of Early Phonograph, Cinema And Radio edited by Timothy D Taylor/Mark Katz/Tony Grajeda Sounds Of Capitalism: Advertising Music And The Conquest Of Culture by Timothy D Taylor Reggae Soundsystem: Original Reggae Album Cover Art by Steve Barrow & Stuart Baker Reggae 45 Soundsystem: The Label Art Of Reggae Singles by Steve Barrow, Noel Hawks and Stuart Baker. On Screen Shut Up And Play The Hits: The Very Loud Ending Of LCD Soundsystem DVD Fairy Tales: Early Colour Stencil Films From Pathé DVD. On Site. Exhibitions, installations, etc: Emptyset in London, plus Not For Human Consumption online. On Location. Extreme Rituals: A Schimpfluch Carnival Bristol, UK Sound Exchange Chemnitz, Germany Huddersfield Contemporary Music Festival Huddersfield, UK John Cage Song Books London, UK Jazz And Experimental Music From Poland London, UK. Out There Festivals, concerts, gigs and club listings. Soundcheck A–Z. The A Band Atoms For Peace Band Of Holy Joy Steve Beresford/Tania Chen/Stewart Lee Black Twig Pickers Nick Cave & The Bad Seeds Dinos Chapman The Clarke And Ware Experiment Cyclopean Miles Davis Quintet Dial Dur-Dur Band Fire! Orchestra Footsie Grouper Hacker Farm Arve Henriksen Lonnie Holley Lichens Robert Aiki Aubrey Lowe Matmos Dawn McCarthy & Bonnie ‘Prince’ Billy Jeff Mills Roy Montgomery New York Art Quartet P16.D4 Pinch Roly Porter & Cynthia Millar Prurient Boyd Rice/NON Carol Robinson & Cathy Milliken Ruff Sqwad Splashgirl Sun Ra Various Change The Beat: The Celluloid Records Story 1980–1987 Various Copendium: An Expedition Into The Rock ’N’ Roll Underwerld Various I Want The Beatles To Play At My Art Center! Various Tensions At The Vanguard: New Music From Peru (1948–1979) Various Wandelweiser Und So Weiter Various Who’s That Man: A Tribute To Conny Plank Yo La Tengo. Crooked Sounds from Aotearoa ‘Erewhon Calling: Experimental Sound in New Zealand’ New Zealand’s geographic isolation has caused a great deal of its music to develop a distinctive ‘edge of the world’ piquancy, a flavor that is especially ripe in its experimental music scene. Erewhon Calling: Experimental Sound in New Zealand is the very first compendium to shine a light on the “antipodean misfits and malcontents” of NZ’s outsider music scenes (many of whom are celebrated internationally, while being underappreciated at home). The book is edited by Bruce Russell (Dead C), and published by label CMR and NZ’s avant-garde sound archive, the Audio Foundation. Designed by Richard Francis, it’s wonderfully presented, highlighting a diverse range of artists and unorthodox auditory escapades. With the aim of surveying an extensive collection of non-standard audio adventures, Erewhon Calling covers a wide assortment of nonconformist musical fields. Its 40-plus contributors come from various music scenes: noise, electronica, free jazz, electro-acoustic, musique concrete , sound/art installation, field recording, and industrial (as well as plenty of mish-mash, “hypothesis-governed”, unclassifiable genres). The book is filled with an extensive array of personal anecdotes, artwork, photography, conversational tales, and a few high-minded commentaries, all bound by the simple premise of exploring architectures of nontraditional sound. Articles from artists such as Kraus (“I want my music to be useful… for people like me and my friends: freaks, outsiders, weirdos, losers”) or Mr Sterile Assembly (“I make music because I don’t spin pottery”) reveal the pleasure of experimenting with strange sounds, negating conformity, and reconnoitering alternative pathways. Essays on Chris Knox, and on Peter King’s renowned lathe record operation, explore the crucial importance of these characters in the development of underground NZ music. Artworks, photography and diagrammatic instructions from the likes of None Gallery, Omit, Zoe Drayton, Beth Dawson, and Michael Morley, among others, illustrate the intersection of sound and art. They offer succinct, albeit multiplex glimpses of the varying modi operandi of musical/visual artists. Erewhon Calling ‘s scope highlights the “nodes and connections” between NZ’s offbeat sonic alchemists. The sharing of ideas and pragmatic techniques between allies built the infrastructure for non-standard music in NZ (as it has throughout the world). Articles illuminating historic aspects of the Dunedin, Christchurch, Wellington and Auckland underground scenes highlight the collective strength of their communities, which enabled the influence of NZ experimental music to push well beyond the nation’s borders. Experimental music is, of course, haunted by the ghosts of academia and pretension, and Erewhon Calling doesn’t hide from that fact. A brutally frank discussion between Antony Milton and Campbell Kneale (“sound art… (yawn)”) kicks pomposity and high-minded ideals in the guts, and the surreal poetic ramblings of Witcyst and White Saucer offer irreverent viewpoints. More cerebral pieces amplify intellectual pursuits. Alastair Galbraith explores the technical aspects of his musical sculpturing, and Andrew Clifford examines interdisciplinary and inter-medial works. Each article in the book takes a different slant, and differing opinions are rife. But the diversity of outlooks reflects experimental music’s perceived virtues and imperfections with candor–dispelling stereotypical misconceptions, and reaffirming a few assumptions along the way. Russell points out that Erewhon Calling doesn’t aim to be an all-encompassing snapshot of NZ’s experimental scene. The hope is to “throw a good handful of gravel into the pool… which is more than anyone else has even attempted before.” Given that the majority of books written about the NZ music scene have been single-authored volumes filled with seemingly endless odes to Split Enz, the fact that Russell and the publishers have taken such a broad approach is to be applauded. There are some omissions, and voices you might have hoped to hear are absent, such as that of Wellington’s multi-genre noise-maker Rory Storm. Some howls from the caverns of frenzied, putrefied underground metal also wouldn’t have gone amiss. Still, as Russell notes, with a scene as dynamic as NZ’s experimental realm, it would be impossible to gather all the threads in this first tapestry. Allowing the artists to explain, in their own voices, what they’re doing and what it all means to them is the book’s very best feature. The collage of tales and images depicts a field of expression that is understandably ill-defined, and while the multi-voiced interpretations clear some of the smoke, many artists’ works still lack clear codification. The diversity of artists’ histories, conflicting truths and multiple perspectives encourage you to identify connections, find your own meaning, and draw your own conclusions. It’s a fantastic feature of the book, mirroring what attracts fans to experimental music in the first place. Erewhon Calling is a source book of ingredients both complex and simple, and a hugely important first step in honoring the innovation to be found in NZ’s experimental music scene. Fans of avant-garde music will be well aware that NZ’s underground scene has influenced endless spectra of noise, and has inspired independent artists and record labels worldwide. The hardheaded DIY culture that imbues so many of NZ’s artistic endeavors is exemplified in every article, demonstrating that geographical distance has not hindered creativity one iota. Erewhon Calling is the sound of “the edge of the world broadcasting back.” In its enigmatic and divergent content, the variances and disorder express the unconventionality of NZ’s most radical music perfectly. Erewhon Calling : Experimental Sound in New Zealand by Bruce Russell. Search products on Midheaven by artist, product title, label, or by format. REDEEM DOWNLOAD CODE. If you received a download code in a vinyl you purchased, you can redeem it for your download here. LOGIN. Login with your existing account. CREATE ACCOUNT. Create an account to purchase items. Erewhon Calling: Experimental Sound In New Zealand. BACK IN STOCK. BRUCE RUSSELL-edited survey of how a bunch of antipodean misfits and malcontents have forged new ways and new reasons to make noise—the full range of “non-standard” audio practices in contemporary NZ culture, from the borders of composed art music, through improvised noise, to deconstructed “rock’n pop filth,” and everything in-between. While not comprehensive (nor aiming to be), Erewhon Calling surpasses what anyone else has even attempted before. Artists and informed commentators mainly tell their own stories, describe their own work, and outline their own goals in working on the fringes of audio culture. Text / page works by Branden W. Joseph, Phil Dadson, Bruce Russell, Michael Morley, Byron Coley, Alastair Galbraith, Empirical, White Saucer, Clayton Noone, Andrew Clifford, Jeff Henderson, Daniel Beban and Nell Thomas, Su Ballard, Jon Bywater, Dan Vallor, Clinton Watkins, Witcyst, Andrew Scott, Campbell Kneale and Antony Milton, Vitamin S, Jon Dale, Mark Williams, Lee Noyes, Nathan Thompson, Beth Dawson, Sean O’Reilly, Kraus, Sean Kerr, Peter Stapleton, Stephen Clover, Dugal McKinnon, Omit, Peter Wright, Jo Burzynska, Ian-John Hutchinson, Kim Pieters, Paul Winstanley, Gentle Persuasion, Zoe Drayton, Simon Cuming, Stevie Kaye, Rachel Shearer, Richard Francis, Rosy Parlane, Kiran Dass, None Gallery, Zita Joyce, Mr. Sterile Assembly, Ben Spiers. 192 pages. Edition of 900. Erewhon Calling : Experimental Sound in New Zealand by Bruce Russell. Ballard, S. "All night silence: Live experimental sound in New Zealand public art galleries." Erewhon Calling: Experimental Sound in New Zealand. Ed.B. Russell. Auckland: Audio Foundation and CMR, 2012, 54-59. Abstract. Since the late 19th century there have been issues with the presentation and reception of sound and music in New Zealand public art galleries. During the first New Zealand and South Seas Exhibition in 1889-1890 there were numerous musical events designed to prove New Zealand's position culturally and socially on the world stage. Audience members would spend the day traipsing around the enormous pavilions of the exhibition pausing to engage in a performance before blundering out to the next event. This mobile audience knew something about the relationship between music and art. Art was silent, static and contained within the walls of the gallery, and music was not. Music was dynamic, and formed part of a public programme which a listener could choose to attend for a specified duration. Erewhon Calling is a survey of how a bunch of antipodean misfits and malcontents have forged new ways and new reasons to make noise, here at the end of the earth. Edited by Bruce Russell (the Dead C.), in association with Richard Francis and Zoe Drayton; the aim of this volume is to survey the full range of ‘non-standard’ audio practices in contemporary NZ culture. The book’s remit runs from the borders of composed art music, through improvised noise, to deconstructed ‘rock ’n pop filth’; and every genre, every scene, every permutation of unconventional audio practice in-between. Trapdoor Fucking Exit. A slightly confused discography entry for this one, at least partially recorded live, as there's the original Trapdoor Fucking Exit cassette on Precious Metal, the separate Helen Said This LP on Siltbreeze, and the follow-up Siltbreeze CD containing both albums under the name of the original. Said CD version is the one to search out, given that it does have everything; while arguing for a definitive Dead C album is almost as impossible a task as selecting one by, say, Muslimgauze, this disc is a high candidate. With guest help on a number of tracks from guitarist Chris Heazlewood, the trio does what it does best once again, exploring the combination of rough avant-garde sonics with sometimes surprising accessibility. Morley assumes vocal duties throughout, his spoken/sung/slightly declaimed vocals often astonishingly gripping, given an interesting clarity -- check out "Hell Is Now Love," as the lyrics slice through the fuzzed chaos, as just one example. Things are definitely murky on Trapdoor, and while that's the case with just about any Dead C release one could name, there's something even more mixed down and subliminal here: things that sound like -- but might not be -- random TV interview snippets on the first version of "Bury," or, throughout the CD, the general aura of sonics that sound like radio signals distorted and trampled through the mud. The second take on "Bury," subtitled "Refutatio Omnium Haeresium" (which alone pretty well shows that Bruce Russell is part of the band), is the disc's understandable centerpiece. Fifteen minutes long, with slowed/distorted vocals everywhere and a wonderful sense of looming, mysterious contemplation in the flow of dank guitar noise up and down over Robbie Yeats' distant drumming, it's a fantastic effort. An interesting coda concludes the disc -- acoustic versions (!) of three tunes, "Power," "Bone," and "Mighty."