gigs been
Lines of Flight/Audible 3 + Adam Willets + Omit 7 Oct 2006 @ The Arc, Dunedin |
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| The
Wine Cellar/Audible 3 + Adam Willets + Sunship Seeks
Muffin 21 Sept 2006 @ The Wine Cellar, Auckland |
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Albert Park Band Rotunda/Audible 3 + the Electric Biarama Broadcast Network + Phil Dadson, Kingsley Melhuish, Kelly Choi 7 April 2006 @ Albert Park Band Rotunda, Auckland |
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| Static
Mansion/Audible 3 + Organism Nov 7 2004 @ Creation, Christchurch |
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| Make
Over / Light Metal Audible 3 16 Oct 2004 @ Grey Lynn Library Hall, Auckland |
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| Alt.Music/Audible
3 + S.C Cumuna + Pierre Bastien 10 July 2004 @ Artspace gallery, Auckland |
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| ripplecrateclackwormfold/Audible
3 + Andrew McMillan (saxophone) 6 April 2002 @ Leys Institute, Auckland Video documentation of the performance available. |
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WhatHappensIfIPushThatButton?/Audible 3 6 Aug 2001@ The Depot, Devonport, Auckland |
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| Sounds
for All Your Senses /Audible 3 + Tom Rodwell (guitar) 1 Dec 2000 @ Odeon Cafe, Auckland |
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Tom Rodwell is an English-born improviser, composer, and journalist now living in London. His solo improvisation work is mostly based on contact-miked electric guitar, where he marries fluid, blues-influenced phrasing with non-linear polyrhythmic events strongly influenced by Conlon Nancarrow. His composition work ranges from notated scores to musique concrete miniatures, and is mostly arranged on PC. |
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1- Blenheim -
a single continuous drone is reprocessed and supplemented by AUD 3. Drone
provided by OMIT(Clinton Williams). There will be more collaboration with
OMIT in 2001. sound
2- Block - a more aggressive and eventful version of the improvisation
process employed in 2 previous AUD 3 concerts. sound
3- Baby Planet Nuclei - all AUD 3 sound is fed into Paul’s digital hall
of mirrors. With the fx allowed to drive the piece, it grows a hidden
life and yields some unforeseen dynamics. sound
| Live
Space/Audible 3 23 July 2000 @ The Space, Wellington |
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Three Half
Variations/Audible 3 + James McCarthy (Sun
Drum) |
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"James
gave a ten-minute performance of exquisite percussion on his visually
and soncially stunning Sun Drum. The drum is a large drum in a Japanese
Taiko style on a stand with wooden poles protruding ray-like around
its shell. Lit from behind, both drum and poles are played. The
sounds are polyrhythmic, dynamic and generously offered to excite
the audience - the essence of great drumming." JKennedy |
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St Columba is an old brick church in the heart of trendy Grey Lynn. A somewhat soulful focus to this bustling suburb on the fringe of Aucklands commercial core.
"Multiple PA’s were used. Each player
had their own proximate stereo amplification and the entire sound went
though a larger system with speakers at the front and back of the church.
Gave a very deep, but somewhat disorientating listening situation - where
was that sound???
"We played for over an hour with the a improvisation based around a simple
process of passing responsibility for steering the course of the playing
unidirectionally from player to player. The process comes gradually apart
and by the end it is a very fluid situation. Highlights - seagull pile
up, ghost radio choir, sentimental subway electronica, leggo contraption
with laser drone, creeping organ and fireworks in slow-motion finale."
J Kennedy sound
| Three
Half Hours /Audible
3 19 Nov 1999 @ Beautiful Music, Auckland J Kennedy - drum machine m.chest - sampler, cd player p.h. L’Casta - bass-triggered synth, turntable |
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"The first time we played together.
No rehearsal, just the idea of each of us taking the lead role for about
half an hour, in an improvised performance. 1. "Never Look Up" was Marc’s
piece which was a live remix of the source cd’s of sounds from his gallery
work and subsequent cd-r release of the same name. Re-layering or re-assembly
would be a more accurate term for the light touch Marc employed, letting
the wide array of sounds play breathe and bump against each other while
Paul and I scattered punctuations and commentary into the mix. 2. Slow
Learner vs. Big Laughing Dust combined mine and Paul’s segments and here
we got into what I have come to descibe as the "parallel sound steams
approach". All moving in the same direction sometimes independently but
always with momentum maintined by the dynamics of convergence (tones reflecting,
pulses merging, or unisons of sometimes sharp transition) and divergence.
There is a 20-minute core in the performance that is my favourite music
from the groups so far. Over an untracable broken robot pulse, Paul’s
hypnotic tone loops unfurl and entwine the music, diving and twisting
like wrestling a snake towards a long decaying closing section." sound
"Another nice thing that happened was that I had at the last minute scattered
these small Balinese playing cards around the performance space. Afterwards
an audience member explained to me some of the rich iconography on the
cards from various eastern sources, which until then I had been entirely
unaware of." JKennedy