 Wednesday October 4th @ 7.30pm
RICHARD CHARTIER (USA)
FILASTINE (USA)
TIM NOHE (AUS & USA)
ADRIAN KLUMPES & SHOEB AHMAD (USA)
This is a rare chance to catch a 1/4_inch event at an outdoor venue and with a surround sound sound PA. Two highly respected USA performers, post-digital minimalist Richard Chartier and genre-mash breakbeat artist, Filastine will perform alongside visiting artist Tim Nohe and local artists Adrian Klumpes and Shoeb Ahmad in an eclectic line-up.
Outside Building 25, Faculty of Creative Arts Amphitheatre.
Wednesday 4th October @ 7:30pm.
Refreshments Available
$10 adult, $7 concession at the door
For more information >
http://www.1-4inch.com/
Artist Bios
 Richard Chartier
http://www.3particles.com/
My live performance differs perhaps most significantly from my recorded work by virtue of an increased audibility and activity. The sounds used are selected from a collection of pre-designed sounds, culled from past compositions and unreleased work but chosen with attention to the space and situation in which they will be presented as part of a new performative composition. In this sense, a live piece works to bring sounds into new and
more immediately dynamic relations, creating a compositional outline within which a degree of space exists for immediate and on-site improvisational effects and reworkings. Because a live performance occurs at a slightly louder volume than recorded compositions, and even further pulls the attention of the audience specifically to the experience of sound and its physicality, performances are best suited to take place within spaces that encourage the listener to circumvent other sensorial input especially of the
visual sort. Minus the impinging presence of visual cues and, as much as possible, other audio stimuli disconnected from the performance itself, a live presentation of my work methodically cultivates attention. It encourages a listening environment where auditors may focus intently upon their capacity for hearing the presentation of sound, within a context and frame distinct from the more routine forms and practices of listening.
Numerous audience members have often noted over the past several years on the transportative nature of the performance/experience and that a distinct displacement in their experience of time occurs in which they are no longer cognisant of the duration of the actual performance.
Filastine
http://www.filastine.com/info.html
Filastine layers artists from distant genres and locales with great architectural sense, and while at times the extremity of the juxtapositions borders on hilarious, the music always feels heroically well designed and strong in conception. On "Palmares," disaffected French oration is overlaid with clouds of gypsy-brass ennui, while party-starter "Judas Goat" lets the rhaita, one of the wailing horns of the Master Musicians, loose over beats that wouldn't be out of place propelling an Aaliyah cut. On some songs, Filastine's constructions are reminiscent of the murky drama of Ninja Tuners like Amon Tobin and DJ Food, and throughout the album the lines between live performed contributions and meticulously contextualized samples is slurred and burnt. The most emotional and fully realized pair of songs come about two-thirds in: "Boca de Ouro" alternates dizzy rhymes about dental work with a fuzzily cinematic chorus, and "Autology" is a slow-burning adaptation of
an Indonesian song in which the intoxicatingly mournful singing of Jessika Skeletalia Kenney sails over a bed of screeching bowed bass and quicksand-sinking drum patterns.
Tim Nohe
http://www.research.umbc.edu/~nohe/GAG/
Nothing changes from generation to generation except the thing seen and that
makes a composition.
Composition as Explanation Gertrude Stein
My live sound work is presented in concert, via netcast and in event based contexts. Iassemble, test, adjust and erode constructions of sonic and visual bricolage. I advance by trial and error, in real-time. The audience is thus witness to a set of procedural negotiations as I move toward the purposeful configuration and interconnection of materials. I often choose materials found in-situ, making direct gestures that elicit the sound potential of forms and processes that may have appeared to be void of instrumental possibility.
Shoeb Ahmad
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid="17385811
Shoeb Ahmad is a musician/sound artist from Canberra,Australia and is currently based in Wollongong. An interest in cassette collages and cheap keyboard tones sparked a life long 'musical' obsession with drones and avant noise. Alongside a brief history playing second fiddle in many punk and nu-metal bands, a catalogue based on fragile drone architecture and cathartic pop guitar noise developed and led to shows around town with trusty friend and call-in drummer Evan Dorrian. Between then and now, a growing interest in laptop processed works and free improvised music slowly informed Shoeb's various recorded and live output to the point of sharing distorted dancehall beats with mates and performing pure improv duo sets.
June 2005 saw Shoeb tour nationally, performing shows alongside DJ Olive & I/O 3 , M.Rosner and Sydney vibraphone player Dale Gorfinkel while playing in duos with cellist Peter Hollo and Wendi Graham from Perth band Radarmaker . Shoeb's live performances continued through out 2005 with solo prepared guitar/discman/mixing desk sets and delay guitar + laptop duets with Canberra sound artist TQ, including a local support for Melbourne band Gersey. Throughout the course of last year, he also began to collate various audio fragments in an effort to put together a full
length release.
Adrian Klumpes
http://www.adrianklumpes.com/
Composer/pianist/keyboardist. Based in Sydney, Australia.
Studied piano, then moved into jazz, electronic and improvised music and bands. Currently exploring the combination of prepared and processed piano pieces, sounds and ambiences, in terms of both improvisation and production, in group and solo settings. Writes and performs with Triosk, a band co-founded in 2001 which explores the electro-acoustic possibilities of a multi-dimensional piano trio.
1/4_inch acknowledges the in-kind support of the University of Wollongong.
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