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Recordings from Sydney's vibrant exploratory/spontaneous music scene.
Go to our shop to purchase any of our 22 releases - postage included to anywhere in the world.
Or download many of our releases at Subradar
... just the faintest engraving upon silence - and as intricately connected as that spider's web. John Shand, Sydney Morning Herald.
Fragile and solid at the same time. Like touching the wings of a butterfly, Free Jazz.
a holistic pure music. Julien Héraud Improv Sphere.
It left me breathless, and I'm sure you will to. Excellent stuff. Vital 792.
west head project - Dale Gorfinkel - prepared trumpet, roots, automated sonic contraptions, Monika Brooks - accordion, Jim Denley - flutes and sax, Anthony Magen - recording.
...blending their sounds into the fabrik of those occurring naturally...Often enchanting, this takes the term 'live music' to another level. John Shand - Sydney Morning Herald.
Careful listening confirms the musicians' sympathetic interaction with the captured natural sound. This also substantiates why the overall session works as well ecologically as musically. Ken Waxman - Jazz Word.
Completely dreamy despite deep roots in reality, A Closely woven fabrik plunges the listener into sound territories hypnotic and dense, rich and original. Highly Recommended! - Julien Héraud Improv Sphere.
blip - Mike Majkowski - double bass, pitch pipes, objects, Jim Denley - alto sax, flutes
It is impossible not to appreciate that the music-making undertaken on Calibrated is part of a rich and ongoing conversation between two of Australia's most engaging improv artists. Gail Priest - Real Time.
Majkowski's abrasive motor rubbing join with his wooden-sounding bass strokes for a stop-time showcase as Denley's key percussion and reed kisses soon give way to thick tongue slaps and intense blowing. Continuously linear, string and reed timbres are sequentially distant and upfront, with the timbres from each man often sounding nearly identical. A mid-point climax involves wide and basso flute flutters meeting equally low-pitched plops from the bass with the subsequent flat-line blend narrowing the oral sounds to miniscule peeps and the digital ones to hollowed rumbles. In tandem the two work up to a crescendo with Denley braying fat vibratos without fingering the keys and Majkowski ringing bells, puffing harmonica-like gusts as well as exposing what could be motor-driven buzzes. Finally inflating saxophone obbligatos become almost mellow enough to parallel ricocheting bass-string patterns. Ken Waxman - Jazz Word.
while exploring sound material richly and profoundly, is nevertheless musical, sensitive, intense, strong and compelling. Recommended! - Improv Sphere
198 scratches, itches and ailments.
... pieces flit to life like mating cells, making skewed, suprise lurches and appearing generally feverish throughout. The interplay between artists is never less than enthralling, their actions raw, revealing, and lovingly recorded, a ceaseless procession of sounds veering off in all directions. Instrumentally its an odd pairing, sure, but seen as an updated form of the violin sonata, in Webern-esque miniature, drawn by post-onkyo minimalists, it begins to make sense. Joshua Meggitt - Cyclic Defrost
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Chris Reid writing in Realtime says
The musical language Cooper and Abrahams have created thus addresses the use of sound as an analogue to speech, text and imagery, and examines the relationships between sound, image, word, memory and meaning. Cooper and Abrahams are fine musicians and composers who have developed a closely shared musical sensibility, and this is an intriguing CD.
THE WIRE Review by Clive Bell – September Edition 2009
...this is a madly generous double album: 198 duets for Clare Cooper's traditional Chinese zither (guzheng) and Chris Abrahams's ancient (1980's) Japanese DX7 synth. Abrahams's heartbeat pulses, digital gargling and mutoid disco sci-fakery are a fierce proposition countered at every turn by Cooper's non-oriental bowing and scraping. The approach is pretty much one clear idea per piece, which makes for great improvising. Track lengths vary from four seconds to a minute, though there is one eight minute monster, "Neutrino", which demonstrates the principle of getting your sound perfect – in this case a two-note school – ruler – on – desktop buzz – jam plus a muffled, pumping beat – and then just repeating it... it's good to see an album so fully thought through as an artwork Each "Germ Study" has it's own accompanying drawing, many by fellow improvisers, and the resultant wall chart is warm and witty, a witness to Abrahams and Cooper's community of friends and co-workers. Five years in the making, it's a special release. My favourite of the 198 titles: Sting's Doorbell" (46 seconds).