Individual Bios About

Paul Winstanley: bass synth,turn-table,processing. Issue 16 of San Francisco magazine Bananafish documents Paul’s tenure in Texas (1989-96) when he was a member of the thriving Houston music underground. CD’s from this period include two well-regarded solo collections of synthesiser improvisation: Raw FA and Heaven on Earth, as well as several collaborative releases with Texas based musicians. Since settling back in NZ, Paul has been an outgoing and tireless collaborator in search of new conjunctions in sound. He’s given numerous concerts, including Jazz Festival spots at Wellington’s The Space (1999 & 2000). Also a visual artist, he has made several exhibitions of his deconstructions and reconstructions of symbols and images (at The Space, St Agatha, The Depot), and designed the Audible 3 CD cover. He curated the Is Land label’s compilation of Auckland electro-acoustic folk music So Called Science. As well as being a professional sound engineer, he currently helps organise Vitamin S, a well-patronised weekly evening of improvised music in Auckland and is a member of Phil Dadson’s improvising ensemble, StirrUP. He has also played at Bomb the Space 2001/02. Marc Chesterman: sampler Marc was the first drummer for alternative rock group Lushburger (1990-91). He went on to perform and release the CD Feather with experimental rock band Sudersuk (1994-98). As a founding member of Sone, this group made two performance based videos and released a CD The Dense Sense (1995-96). His collecting of field recordings culminated in a series of sound installations. Some of these were presented in Artspace’s Relay events, which he helped organise. Never Look Up was installed in Lopdell House Gallery in 1998 and then documented on CD. Familiar/Unfamiliar was performed at SoundCulture ’99. He has released two other solo CD’s of environmental sound and percussion compositions. With John Kennedy he recorded the Drumsmachine CD, which makes a unique exploration of “post-techno percussion”. They performed as an electro-acoustic drum kit duo in the 1999 Sound Shapes festival at Le Mata Theatre in Auckland. Marc has a long-standing role as composer/sound designer with dance theatre group MAU and has performed with MAU in NZ, and overseas. With film-maker Florian Habicht, Marc has composed music and been sound designer for digital feature productions, including Woodenhead and Kaikohe Demolition. Marc has worked with Auckland Theatre Company, Pandemonium's Macbeth and with Massive Company on 100 Cousins. John Kennedy: drum machine, processing John started playing improvised music with guitarist Greg Malcolm in the mid-80’s While studying drum kit with Anthony Donaldson (Primitive Art Group), he joined in on the closing phase of a fruitful period for improvised music in Wellington. Moving to Christchurch he played in electric free improvisation group Don’t Make Noise, and composed and played drums for avant rock band One Leg Too Short. Then came a period teaching group percussion and composing solo drum kit music. While living in Melbourne he played country and western, Spanish and Indonesian music. In 1997 he began improvising with drum machine and has continued using this as his main instrument in the group Audible 3. John has released a number of CDR’s on his Is Land label; works that involve sound experimentation, strong rhythmic elements and creative approaches to audio technology - what he refers to as a “post techno” aesthetic. A CD of deconstructed pulse music with experimental drone guitarist RST has recently been released. John contributes reviews on jazz and improvised music to the Dominion Post and has been part of the Vitamin S improvised music workshops. New solo music - featuring the reprocessing of live acoustic and electronic percussion -  occasionally happens under the name Slow Learner.