electro-acoustic | Musicosity

electro-acoustic

Gum

Back in the late '80s, Melbourne's Andrew Curtis and Philip Samartzis collaborated in the aurally volatile project simply called Gum. With little expertise or training, the two gathered up what objects they were familiar with, in particular thrift store turntables and soiled records. Eschewing their original attraction to the giants of Industrial Culture, Gum quickly developed an aesthetic privileging the caustic rupture of skipping records and smoldering surface noise, predating the current avant-turntablist aficionados like Philip Jeck, Janek Schaefer, and Otomo Yoshihide.

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Taylor Deupree

Technology and imperfection. The raw and the processed. Curator and curated. Solo explorer and gregarious collaborator. The life and work of Taylor Deupree are less a study in contradictions than a portrait of the multidisciplinary artist in a still-young century. Deupree is an accomplished sound artist whose recordings, rich with abstract atmospherics, have appeared on numerous record labels, and well as in site-specific installations at such institutions as the ICC (Tokyo, Japan) and the Yamaguchi Center for Arts and Media (Yamaguchi, Japan).

Read more about Taylor Deupree on Last.fm.

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Luigi Nono

Luigi Nono (29 January 1924 - 8 May 1990) was an Italian composer. He studied at the Venice Conservatoire where he became acquainted with . (He married Arnold Schönberg's daughter Nuria in 1955). He became a leading composer of instrumental and electronic music. In 1950, he attended the "Ferienkurse für neue Musik" in Darmstadt, where he met composers such as Edgard Varèse and Karlheinz Stockhausen. Works from this first period include: Polifonica-Monodica-Ritmica (1951), Epitaffio per Federico García Lorca (1952-1953), La victoire de Guernica (1954) and Liebeslied (1954).

Read more about Luigi Nono on Last.fm.

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joseph scott

Fascinated with texture, modified timbres and ethereal stasis, joseph scott is a musician whose output consists of lo-fi live improvised drone-based music and, more recently, mid-fi songs informed by the aforementioned more avant-garde works. He has a rather idiosyncratic emphasis on creating an ecstatic but emotionally ambiguous musical moment and then attempting to sustain it with as little deviation from the work's 'musical heart' as possible. www.myspace.com/blossomandsurrender

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CJ Boyd

Equal parts ambient and virtuosic, melancholic and playful, CJ Boyd’s bass playing melts glaciers, creating a sea of low, flowing rhythms, while also supplying melodies that soar over the ocean to melt the sun itself. Waves of bass loops are garnished with harmonica drones and constant improvisational exploration. This is deep-sea-diving for the hungry and alone. While certainly following in the footstep of great bassists like Mingus and Meyer, Boyd’s aesthetic sensibility also seeks to wed the minimalism of Reich and Glass with what might be called the maximalism of Beethoven chamber music.

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