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Contributors (31)

  • 33EMYBW
  • Shanghai native 33EMYBW (Wu Shanmin) has been an active member in the Chinese music scene for over a decade. She has also performed at CTM and Sinotronics in Germany, China Drifting Festival in Switzerland, and SXSW. Her 2018 album Golem, released on SVBKVLT, was met with critical acclaim and voted one of the best electronic albums of 2018 by Bandcamp. In 2019 she released DONG2 EP under Merrie Records Beijing, and will premiere her sophomore album Arthropods (SVBKVLT) at Unsound 2019.

  • Alexander Garsden
  • Alexander Garsden is a Melbourne-based composer, guitarist and electroacoustic musician, working across multiple exploratory musical disciplines. Recent work includes commissions from the Sydney Symphony Orchestra, the Melbourne Symphony Orchestra, Speak Percussion, Michael Kieran Harvey and Eugene Ughetti; alongside performances with artists including Tetuzi Akiyama (Japan), Oren Ambarchi, Radu Malfatti (Austria), Julia Reidy, David Stackenäs (Sweden), and with Erkki Veltheim and Rohan Drape. From 2014 to 2019 Garsden was Co-Director of the INLAND Concert Series. He has taught through RMIT University and the University of Melbourne.

  • Allanah Stewart
  • Allanah Stewart is an artist from Aotearoa/New Zealand, currently living in Melbourne, Australia. As well as her work in various experimental music projects, she is the presenter of a monthly podcast radio programme called Enquiring Minds, hosted by Noods radio, which explores old and new, lesser known and well known sounds that loosely fit under the banner of experimental music.

  • Annika Kristensen
  • Annika Kristensen is Senior Curator at the Australian Centre for Contemporary Art, Melbourne.

  • Arben Dzika
  • Arben Dzika is an artist whose practice involves working with various media including, but not limited to: sound, image, word, and performance. His work primarily seeks to reflect on, interrogate, and play with technologies, systems, and human senses. Within his practice, he works as a producer and DJ under the moniker, Dilae.

  • Audrey Schmidt
  • Audrey Schmidt is a writer and editor based in Melbourne, Australia. She is a regular contributor to Memo Review, co-editor the third issue of Dissect Journal, and has written for various publications including Art Monthly, Art + Australia and un Magazine. She co-founded Minority Report with Adam Hammad in 2018 and released one online issue that was available until the domain expired in 2019. Audrey sits on the FYTA (GR) Board of Advisors.

  • Autumn Royal
  • Autumn Royal is a poet, researcher, and teacher based in Narrm/Melbourne. Autumn’s current research examines elegiac expression in contemporary poetry. Autumn is interviews editor for Cordite Poetry Review, and author of the poetry collection She Woke & Rose. Her second collection of poetry is forthcoming with Giramondo Publishing in 2021.

  • Bianca Winataputri
  • Bianca Winataputri is a Melbourne-based independent curator and writer researching contemporary practice in Southeast Asia, and relationships between individuals and collectives in relation to history, globalisation, identity and community building. Currently working at Regional Arts Victoria, Bianca was previously Assistant Curator of Contemporary Art at the NGA. She holds a BA (University of Melbourne), and BA Honours from the ANU where she received the Janet Wilkie Prize for Art. In 2018 Bianca was selected for 4A Centre for Contemporary Asian Art’s Curators’ Intensive.

  • Brian Hioe
  • Brian Hioe was one of the founding editors of New Bloom, an online magazine covering activism and youth politics in Taiwan and the Asia Pacific, founded in 2014 in the wake of the Sunflower Movement. Hioe is a freelance writer on social movements and politics, as well as an occasional translator.

  • Chi Tran
  • Chi Tran is a writer, editor, and an artist who makes poems that may be text, video, object, sound, or drawing. Chi is primarily interested in working with language as a means of coming-to-terms. Their work has been published by Incendium Radical Library Press, Cordite Poetry Review, Australian Poetry and Liminal Magazine and exhibited at galleries including Firstdraft, Sydney; Punk Café, Melbourne; and ACCA, Melbourne. In 2019, as a recipient of The Ian Potter Cultural Trust Fund, Chi spent three months in New York developing their practice with renowned poets including Mei-mei Berssenbrugge, Fred Moten, and Jackie Wang.

  • Chun Yin Rainbow Chan
  • Chun Yin Rainbow Chan is a Hong Kong–Australian artist, living in Sydney. Working across music, performance and installation, Rainbow is interested in the copy and how the ways in which it can disrupt Western notions of ownership. Central to Rainbow's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the counterfeit as a complex sign that shapes new myths, values and contemporary commodity production.

  • Dale Gorfinkel
  • Dale Gorfinkel is a musician-artist whose stylefree improvisational approach informs his performances, instrument-building, and kinetic sound installations. Aiming to reflect an awareness of the dynamic nature of culture and the value of listening as a mode of knowing people and places, Dale is interested in bringing creative communities together and shifting perceived boundaries. Current projects include Prophets, Sounds Like Movement, and Music Yared as well as facilitating Art Day South, an inclusive arts studio with Arts Access Victoria.

  • Danni Zuvela
  • Danni Zuvela is a curator and writer based in Melbourne and the Gold Coast. Her research is informed by interests in feminism, activism, ecology, language and performance. With Joel Stern, Danni has led Liquid Architecture as Artistic Director, and continues to develop curatorial projects for the organisation.

  • Eric Avery
  • Eric Avery is a Ngiyampaa, Yuin, Bandjalang and Gumbangirr artist. As part of his practice Eric plays the violin, dances and composes music. Working with his family’s custodial songs he seeks to revive and continue on an age old legacy – continuing the tradition of singing in his tribe – utilising his talents to combine and create an experience of his peoples culture.

  • Fjorn Butler
  • Fjorn Butler is an artist, researcher, and event organiser. As an artist, she works primarily in sound and performance under the name Papaphilia. As a researcher, she interrogates how biological discourses are used in neoliberal/colonial governance structures to shape the political. Fjorn's research informs her writing on sound-poetics and the challenges this framework poses to anglophone notions of property. She is also co-director of Future Tense and co-curator of Writing and Concepts.

  • Freya Schack-Arnott
  • Freya Schack-Arnott is an Australian/Danish cellist who enjoys a multi-faceted career as a soloist and ensemble performer of classical and contemporary repertoire, curator and improviser within experimental music, electronics, popular and cross-disciplinary art forms. Schack-Arnott regularly performs with Australia's leading new music ensembles, including ELISION Ensemble (as core member) and Ensemble Offspring. Her curatorial roles include co-curator/founder of the regular 'Opus Now' music series and previous curator of the NOW Now festival and Rosenberg Museum.

  • Gooooose
  • Gooooose (Han Han) is an electronic music producer, visual artist and software developer based in Shanghai, China. His current releases include They (D Force, 2017), Dong 1 (D Force, 2018), Pro Rata (ANTE-RASA, 2019). Gooooose's 2019 SVBKVLT–released RUSTED SILICON received positive reviews from media including boomkat, Resident Advisor, Dusted Magazine, and The Wire. Gooooose has performed live at CTM (Berlin, 2018), Nyege Nyege (Kampala, 2019), Soft Centre (Sydney, 2019), Unsound (Kraków, 2019) and Recombinant (San Francisco, 2019).

  • Harmony Holiday
  • Harmony Holiday is a writer, dancer, archivist, director, and the author of four collections of poetry, Negro League Baseball, Go Find Your Father/A Famous Blues, Hollywood Forever, and A Jazz Funeral for Uncle Tom. She lives in New York and Los Angeles.

  • Haroon Mirza
  • Haroon Mirza is an artist who intertwines his practice with the role of composer. Mirza considers electricity his main medium and creates atmospheric environments through the linking together of light, sound, music, videos and elements of architecture. Regularly showing internationally in group and solo exhibitions, Mirza’s work has also been included in the 7th Shenzhen Sculpture Biennale, China (2012) and the 54th Venice Biennale, Italy (2011), where he was awarded the Silver Lion.

  • James Rushford
  • James Rushford is an Australian composer-performer who holds a doctorate from the California Institute of the Arts, and was a 2018 fellow at Academy Schloss Solitude in Stuttgart. His work is drawn from a familiarity with specific concrète, improvised, avant-garde and collagist languages. Currently, his work deals with the aesthetic concept of musical shadow. James has been commissioned as a composer by ensembles including the BBC Scottish Symphony Orchestra (Glasgow), and Melbourne Symphony Orchestra, and regularly performs in Australia and internationally.

  • Jen Callaway
  • Jen Callaway is a Melbourne musician, sound and performance artist, photographer, and community services worker raised in various parts of Tasmania. Current projects include bands Is There a Hotline?, Propolis, Snacks and Hi God People; and upcoming film Here at the End, by Campbell Walker, as actor/co-writer.

  • Jessica Aszodi
  • Jessica Aszodi is an Australian-born, London-based vocalist who has premiered many new pieces, performed work that has lain dormant for centuries, and sung roles ranging from standard operatic repertoire to artistic collaborations. She has been a soloist with ensembles including ICE; the Melbourne, Sydney and Adelaide Symphony Orchestras; and San Diego and Chicago Symphony Orchestras’ chamber series. Aszodi can be heard on numerous recordings and has sung in festivals around the world. She holds a Doctorate of Musical Arts from the Queensland Conservatorium, an MFA from the University of California, and is co-director of the Resonant Bodies Festival (Australia), and artistic associate of BIFEM.

  • KT Spit
  • Kt Spit (Katie Collins) is an artist and musician based in Narrm (Melbourne). Lyrically and visually her work explores subcultural narratives and challenges dominant representations of loss, grief, and true love. In 2015 Kt independently released her debut album, Combluotion, and in 2019 will release a visual album entitled Kill the King.

  • Lucreccia Quintanilla
  • Lucreccia Quintanilla is an artist, writer, DJ and PhD candidate researcher at Monash University. Her writing and art have been published and exhibited both within Australia and internationally. Quintanilla’s practice is a collaborative one that manifests into outcomes within galleries and also as events and performances outside of that context. She regularly speaks at panels and symposiums on themes within her research, has received grants for her projects and residencies, and has taught at university level.

  • Mandy Nicholson
  • Mandy Nicholson is a Wurundjeri-willam (Wurundjeri-baluk patriline) artist and Traditional Custodian of Melbourne and surrounds. Mandy also has connections to the Dja Dja wurrung and Ngurai illam wurrung language groups of the Central/Eastern Kulin Nation. Mandy gained a Bachelor of Arts (Honours) in Aboriginal Archaeology in 2011, worked for the Victorian Aboriginal Corporation for Languages for six years and is now a PhD candidate studying how Aboriginal people connect to Country, Off Country.

  • Mat Spisbah
  • Mat Spisbah is a New Media curator with a unique portfolio of programming that seeks to integrate non-traditional artistic methods and emerging technologies. Having lived in Hong Kong for 14 years, he is connected to the region’s art and culture, and has created professional networks with artists, curators, galleries, promoters and industry professionals across Australasia. Portfolio highlights include the debut Australian performances of north Asian artists including: Howie Lee, Rui Ho, Meuko Meuko, Pan Daijing, Alex Zhang Hungtai, Tzusing, and Gabber Modus Operandi.

  • Natasha Tontey
  • Natasha Tontey is an artist and graphic designer based in Yogyakarta. She is interested in exploring the concept of fiction as a method of speculative thinking. Through her artistic practice she investigates the idea of how fear, horror, and terror could be manifested in order to control the public and how fictional accounts of the history and myth surrounding ‘manufactured fear’ might operate as a method of speculative fiction that determines expectations for the future.

  • Neil Morris
  • Neil Morris is a Yorta Yorta, Dja Dja Wurrung man. He is well known in Narrm/Birraranga for his musical project DRMNGNOW, a project built on subject matter tackling the colonial nature of the Australian construct and how that affects contemporary society upon this land. The work is unapologetic, clear, and deeply poetic. It hints toward Morris's extensive experience as a spoken word artist in Narrm since 2015. Morris's work is triumphant in the face of severe adversity often imbued in a quite fortified melancholy, a powerful marker of the survival of First Nations peoples in the now.

  • Sam Peterson
  • Sarah McCauley
  • Sarah McCauley is a Melbourne-based music producer, editor and writer.

  • The Convoy
  • The Convoy conjure illustrious soundscapes from the abyss of chaos, revealing hidden worlds of the imagination as the performance takes form and infuses with subjective experience. Using instruments of sound, light and smell, The Convoy enchant space with themes of tension, evolution, entropy and regeneration. Sensorial immersion transports audiences through highly dynamic environments that shift and blend into one single, breathing moment. As entity, rather than singular, Immy Chuah is a guest within The Convoy on unceded land.

Artist Title | 00:00 / 00:00 (Play)
Disclaimer is a journal for new thinking and writing on listening and sound. Published by Liquid Architecture.

Disclaimer

Index


Restrictions
Are Like Gravity
33EMYBW and Gooooose in conversation with Mat Spisbah

<p>Photos: Mathilde Aguis</p>

Photos: Mathilde Aguis

Mathew Spisbah

While I was in Shanghai, China in 2017, I went to numerous shows at venues like ALL, Loopy, and Dada. I guess this is where I first became aware of you both, your music, and the scene emerging in China. While I was only in China for three months, I got a sense of how close the community is in Shanghai, do you feel this way? How would you both describe the communities that you predominantly engage with?

33EMYBW & Gooooose

Yes, we agree, it’s a small community, and a very different one. We’ve been playing in bands since 1999, and had been involved with different groups of people focusing on certain music genres, such as post-rock, and noise. But to be honest, we’ve never met so many interesting individuals as we have now, in our small Shanghai community. We think the key difference in this community is it doesn’t worship singular judgement against anything. For example, in ALL Club, or especially the old Shelter Club, maybe partly because they’re both so dark and bass heavy, people just focus on their own experiences of what’s taking place in that moment instead of focusing on the reflections and opinions of the crowd. They are still aware of a surrounding crowd, but with an open mind. We believe this kind of mindset is essential when talking about and making music, DJing, or creating art pieces. In fact, we think a small community is good; to keep people away from the collective unconsciousness, which is to say, if a community gets too big, sometimes a supposed hierarchy will affect personal expressions. Although, this can even occur when there’s no clear hierarchy.

MS

You’re both founders of The Centaurs, a series of events and workshops in music production, focussing on modular synthesis, DIY software, and hardware instruments. How did this project inform your understanding of communities and collaborative connections within the Shanghai music sphere? How do you feel like this project contributed to the broader Chinese music community that has emerged since then?

33 & G

At the very beginning, The Centaurs happened mostly in certain live houses and art galleries, such as Yu Yin Tang and Chronus Art Center in M50. We would like it to happen more in a club-like environment, but we worried about the music and how it might be too crazy for people there. But then Gaz Williams from ALL Club and the label SVBKVLT asked us to curate an event at ALL. We were actually surprised that while most of the events happened on a Thursday or Sunday, there was still a decent crowd. This experience proves that the younger generation of club crowd in Shanghai do have a very eclectic taste and curiosity about music. We think the fact that they’re able to absorb so many different aspects of contemporary culture creates a resonance in music.

I don’t know how this will continue to affect anything afterward, but we believe it might be the first time an experimental showcase happens regularly in a club in Shanghai, supported mostly by local people. And this is still exciting. In fact, we think this is what will happen naturally, because today’s electronic musicians are already using all kinds of techniques from the legacy of those adventurous sound explorers, such as Pierre Schaeffer, Don Buchla, John Cage, and Iannis Xenakis.

MS

It’s been suggested that there’s a scarcity of space for shows based upon the restrictions enforced by police in Shanghai, which makes the existence of these venues more precarious. What is the reality of this perception? What is the impact if or when these spaces are restricted or shut down and how does the community react to this?

33 & G

Some of the clubs were shut down in the last few months but now they have all reopened in Shanghai. Personally, we think many of the seemingly harsh restrictions in Shanghai are event specific, meaning, after certain events everything will be back to normal. Restrictions are like gravity, no matter what country you are in, as long as you are on earth there’s no way to escape from it, and people will always find ways to get around restrictions. I think people here in Shanghai are pretty calm when it happened/happens. New clubs are still opening around the area of ALL Club, and I don’t think I’m smarter than those club owners.

MS

I’m interested to know what experimental practice means to you both. Do projects like DONG 1 & 2 fall into this, and how do you define the intention behind these projects and your work at large?

33 & G

We always think that experimental practice is an approach of making music, rather than a fixed genre. Meaning, you experiment with elements or substances you have at hand, and might, finally, synthesise something different, sort of like what can happen in chemistry. Much of our work is made using this approach, including DONG 1 & 2. Unless it’s a commissioned work, many times our only intention when making music is to make ourselves feel good. Sometimes it’s like a lucid trance state that you just want to keep going. It’s like an improvisation, but more like running a marathon, when you know you are super tired but just can’t stop running perhaps partly because of chemical substances you get from your brain when running.

MS

You both seem to seek a very future-thinking and technological outlook, while maintaining a localised character within your music. Is this ‘sound’ a reaction to Chinese society or do you see this within a more global context? How do you work with futurity and progressive technologies in practice, while attending to the timelessness of communal/ritual experience inherent in dance music?

33 & G

It might not necessarily be a ‘reaction’ but our music is definitely influenced by the social and cultural context we are in, whether we like it or not is irrelevant, it just happens. And what happens here, in China, right now, is also a reflection of the global context. We think today’s technology empowers people with the ability of manipulating powers just through small boxes of plastic and metal, and that equals what shamans did in ancient times, and the result is the same: people are moved, and emotionally, and physically touched by energy waves, entering a different zone away from their current reality, even if just for a short time.

MS

From an outsiders or perspective, based on access via the internet, you see label’s like SVBKVLT, Genome 6.66 MBP, and Do Hits all showcasing different elements of China’s underground experimental scene, do you think this is a balanced cross-section of what is happening in this realm or are there other labels and/or artists that may not have garnered similar attention?

33 & G

We don’t really listen to many labels in China and right now. But because you have asked, we think Function Lab from Hangzhou is a pretty good and solid crew. We think it’s inevitable that, finally, certain labels will get more attention, because China is definitely not in the centre of the music industry for now, it’s still considered exotic. The Western music industry defines the global industry as a result of the concepts of ownership and Western capitalism. We definitely hope more labels can and will be known to a broader audience outside of China.

MS

You both recently experienced and participated in the Nyege Nyege festival in Uganda. I’d love to hear your perspectives on what this time was like and how it connects with certain similarities or differences in relation to the Shanghai music community?

33 & G

It’s just four days of madness, non-stop music, an exciting and friendly crowd. We think the best part of Nyege Nyege festival is that Arlen Dilsizian and the other organisers curated a very interesting lineup that could feed both club people and those who are more into experimental stuff. From what we see, the local musicians — especially from Nyege Nyege Tapes and Hakuna Kulala — are making some music that’s very contemporary but also rooted in their cultural legacy, and that might be something similar to SVBKVLT and other labels. But in response to your first question, we believe that simultaneously being clearly aware of our cultural identity, and what’s presently surrounding us, will always generate unique creations over time.

Contributor/s

Shanghai native 33EMYBW (Wu Shanmin) has been an active member in the Chinese music scene for over a decade. She has also performed at CTM and Sinotronics in Germany, China Drifting Festival in Switzerland, and SXSW. Her 2018 album Golem, released on SVBKVLT, was met with critical acclaim and voted one of the best electronic albums of 2018 by Bandcamp. In 2019 she released DONG2 EP under Merrie Records Beijing, and will premiere her sophomore album Arthropods (SVBKVLT) at Unsound 2019.

Gooooose (Han Han) is an electronic music producer, visual artist and software developer based in Shanghai, China. His current releases include They (D Force, 2017), Dong 1 (D Force, 2018), Pro Rata (ANTE-RASA, 2019). Gooooose's 2019 SVBKVLT–released RUSTED SILICON received positive reviews from media including boomkat, Resident Advisor, Dusted Magazine, and The Wire. Gooooose has performed live at CTM (Berlin, 2018), Nyege Nyege (Kampala, 2019), Soft Centre (Sydney, 2019), Unsound (Kraków, 2019) and Recombinant (San Francisco, 2019).

Mat Spisbah is a New Media curator with a unique portfolio of programming that seeks to integrate non-traditional artistic methods and emerging technologies. Having lived in Hong Kong for 14 years, he is connected to the region’s art and culture, and has created professional networks with artists, curators, galleries, promoters and industry professionals across Australasia. Portfolio highlights include the debut Australian performances of north Asian artists including: Howie Lee, Rui Ho, Meuko Meuko, Pan Daijing, Alex Zhang Hungtai, Tzusing, and Gabber Modus Operandi.

Notes

    Score: Eric Avery. ‘‘Ancestory Play Ancestry’’, 2019
    Liquid Architecture acknowledge Aboriginal and Torres Strait Islander people as the sovereign owners of the country where we live and work, and recognise that sovereignty has not been ceded. We pay our respects to their Elders, past, present and emerging.
    Score: Natasha Tontey ‘Church of Xenoglossia’, 2019