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Thomas Lehn
David Watson
John White / Francesca Mountfort



FREE SOUND brings together nine diverse artists who participated in The Physics Room 2004 performance programme on a downloadable CD for your listening pleasure. The CD will be 45min 54sec long, and is accompanied by a downloadable jewel case cover designed by Aaron Beehre. It acts as a document of the range of projects we supported in 2004, and has been produced in association with The Physics Room 2004 Annual publication. The Annual brings together new writing, images and documentation on the exhibitions, programmes and projects developed for The Physics Room in 2004. The Physics Room is committed to the presentation of a range of programmes including experimental sound and performance, internet, digital and video art practices, which contribute to the development of new ways of thinking and working within the context of the art gallery.

Download Tracks

1. Trambience featuring Greg Malcolm & Chris O’Connor Trambience 04 (excerpt) 7.52

2. Mammal (Daniel Beban & Heine Thorhauge Mathiasen) Dehumid Slock 9.39

3. Philip Dadson Ecliptic 5.10

4. Sarah Peebles 3 for ¥500 (merchants at Ameyoko) 5.50

5. Bruce Russell Kate’s Blues #3 [Death Letter] 3.42

6. Mattin Los Desastres de las Guerras 3.38

7. Thomas Lehn and David Watson Live Recording excerpt 20/01/04 7.13

8. John White Sailor’s Song 2.50

 1. Trambience featuring Greg Malcolm & Chris O’Connor

Trambience 04 ( excerpt) 7.52

Recorded live in Christchurch, September 2004

Trambience, organised by ((ethermap (Zita Joyce and Adam Willetts), was an acoustic adventure - a celebration of public transport and discovery through aimless travelling in September 2004. In this second event in the Trambience series, local sound artists/musicians Greg Malcolm and Chris O'Connor performed for an audience of 50, on board one of Christchurch’s beautifully restored heritage trams.

Greg Malcolm (Guitarist, Composer and Improviser) brings his unique adapted guitar and drone-based improvisationary style to the tram. Malcolm's sound consists of hypnotic evolving melodies that are built upon layered drones, (created by mini fans, e-bows and floor guitars). The melodies utilise a variety of tones and sounds created on Malcolm's unique adapted electric guitar created by New Zealand Luthier Peter Stephens. The compositions and improvisations are specifically designed to accentuate the beauty inherent in the innovations developed within this guitar. Other than the e-bow and fuzz box all sounds are created live and organically by string manipulation techniques. Malcolm is an accomplished guitarist with an extensive music history. He has composed, performed and recorded music for short films, theatre and is featured on many LP's and CD's. He has toured Europe in 1995 and 2003 -2004 and performed extensively throughout New Zealand at art galleries and music venues.

Chris O'Connor (Drummer) will transform the tram into a traveling drumset, physically exploring the space and its acoustic properties. Originally based in Wellington, he has been much in demand for his rhythmic spontaneity and painterly approach to the drumset. O'Connor's fresh sound has seen him work for David Long and Plan 9 in various projects for television (the Strip, Insiders Guide to Happiness), film (Perfect Strangers, Fellowship of the Ring, Tongan Ninja), musical theatre (Threepenny Opera, Blue Smoke) and dance (Alice - Royal NZ Ballet). In 2001 he won Best Original Music at the Chappman Tripp Awards for his work on the play "Irish Annals of Aotearoa". He has recorded, performed and toured with a myriad of New Zealand artists and groups including Campbell Kneale (Birchville Cat Motel), Village of the Idiots, Richard Nunns, and Trinity Roots.

2. Mammal (Daniel Beban & Heine Thorhauge Mathiasen)

Dehumid Slock 9.39

Recorded in Copenhagen, January 2005

Wellington musician Daniel Beban is currently living in London, performing regularly and working as co-producer of a weekly radio art show on Resonance FM. As a guitarist he has recorded and released albums with The Rubbernecks, The Slab and Sync/Shed, all released on the SpaceCDs label. He has also played guitar in a wide variety of punk/noise groups including The Deconstruction Unit, Gook Nation, Po Face, The Goatslappers and The Testes, and has collaborated with musicians from Java, Sumatra , China , Laos and with Maori music specialist Richard Nunns.

3. Philip Dadson

Ecliptic 5.10

From Dadson’s solo album Sound Tracks, 2004

Phil Dadson is a sound & intermedia artist, and founder of New Zealand's most original rhythm/performance group, From Scratch. Following membership of the foundation group for Scratch Orchestra (London 1969, with Cornelius Cardew, Michael Parsons & others), Dadson founded Scratch Orchestra (NZ), and later From Scratch (1974); known internationally for it’s funky rhythms & quirky intermedia performances on original instruments. His solo performances and exhibitions include sound & intermedia performances & installations, music compositions, graphic scores, video & short film, sound sculptures, and improvisations on his invented instruments. Ecliptic is from Dadson’s recent solo improvisations release Sound Tracks.

4. Sarah Peebles

3 for ¥500 (merchants at Ameyoko) 5.50

Originally commissioned by Radio-Canada, 2001

Sarah Peebles is a Toronto-based American composer, performer, and broadcaster. Peebles pursued violin, composition, and theatre studies in her native Minneapolis, MN, and received a Bachelor of Music degree in composition in 1988 from the University of Michigan School of Music at Ann Arbor. She has composed for electro-acoustics, small ensemble, dance, animation, inter-disciplinary collaborations and music-theatre. Her current music focuses on computer-assisted composition and improvised performance using Max programming with internal sampling software, often together with live and/or pre-recorded shô (Japanese mouth-organ). Peebles' work encompasses performance art, installation work and video production, and often explores alternative performance settings, such as museums, bamboo groves, temples and parks.

5. Bruce Russell

Kate’s Blues #3 [Death Letter] 3.42

All sound recording and processing by Bruce Russell, Temple of Music Digital Annex, 2003.

Bruce Russell has spent the last 20 years refining a unique approach to musical practice which owes much to more esoteric disciplines such as sound art, free ‘noise’ improvisation and electro-acoustic composition. Coming from a ‘rock’ background, he has broadened his interests, methods and arsenal of techniques to include practices and approaches to sound that have moved him to a position outside any musical mainstream one could care to name. At the same time he has done much to network like-minded New Zealand artists, and to actively promote these artists in the international music scene. He is now a minor but firmly established fixture in the international improvisation underground, known both for his own work and as part of the Dead C.

6. Mattin

Los Desastres de las Guerras 3.38

Mattin & Bruce Russell improvised performance, recorded live at The Physics Room, 26 February 2004

Mattin uses computer (& guitar) feedback to accentuate the proccesual and instant character of the improvisation performance. Feedback is self generated and self sufficient. Much of Mattin’s exploration in sound is rooted in contrast. The contrast of extreme high and low volumes, and between the digital and physical sound of the computer (exposing the monopoly of detached amplifi cation in sound delivery). These interests are reflected in Mattin’s influences which range from, Whitehouse to Malfatti, from Feldman to Eskorbuto.The performative aspect of computer improvisation has led Mattin to explore the different meanings that visual representations of this practise can have in different contexts. In Mendietan (performance, cd + booklet,) Mattin and Rosy Parlane performed in different mountains in the Basque Country, using headphones. No sound was generated outside of this exclusive context. The work focuses on the potential for misunderstandings and reinterpretation in the reception of performance.

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7. Thomas Lehn and David Watson

Live Recording excerpt 20/01/04 7.13

Recorded live at The Physics Room, 20 January 2004

Cologne based Thomas Lehn is an exemplary pianist internationally known as an interpreter and improviser in classical, contemporary and jazz music. Over the last decade he has also become one of the pivotal figures in Europe's new music scene as a live electronics performer. Lehn focuses on classic analogue synths developed in the 'sixties and has made his own language on the instrument, notably spontaneous interaction and a unique palette of sounds - phat and chunky through to the most sensitive and sophisticated.

A guitarist and improviser, David Watson moved to New York City in 1987 from New Zealand. In New York, he started a project playing the highland bagpipe as a vehicle for music exploration. Watson has performed regularly with Lee Ranaldo, Ikue Mori, Shelley Hirsch, Christian Marclay, Otomo Yoshihide, Eugene Chadbourne, Gunter Mueller, Jon Rose, Tony Buck, Zeena Parkins and others, and released projects on Avant, Ecstatic Peace, Tzadik, Braille with an upcoming release on XI. In NZ he curated the first two festivals with Artspace, bringing many stellar performers to NZ for the first time -Makigami Kochi, Pansonic, The Flirts,Voicecrack, Toshi Nakamura, Sachiko M amongst others. This NZ tour from 2003 with Thomas Lehn was supported by the NZ Goethe Institute.

8. John White

Sailor’s Song 2.50

From the Mogwash Album, recorded in Berlin, 2003

John White's album "Mogwash" is the second solo departure from Dunedin Pop'n'roll band Mestar. It was recorded in Berlin last year with technical and musical help from fellow members of Cloudboy. In a similar vein to first album "Balloon Adventure", twee guitar songs of repetition and side-stepping are the main agenda, this time with a more thematic approach, introducing Mogwash and his friends as stars of the show.


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These tracks were originally available as a download with the

The Physics Room Annual 2004
ISBN 0-9582651-2-7

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