In association with the corresponding installation, we are happy to invite you to enjoy a new programme of multichannel and ambisonic music composed for the Frankensonics soundsystem. These limited capacity events will provide an ideal listening experience complemented with a glass of wine or cup of hot tea or coffee, Liberty Beer or AF’s in-house non-alcoholic punch.
Sessions will run for 90min.
Micro concert 01, Wednesday 19 November
Doors 6pm, music 6.30pm sharp – tickets from www.undetheradar.co.nz
Capacity 8 persons per session
No door sales
Programme summary:
Andrew McMillan’s latest interests and pursuits include researching and developing an artistic practice incorporating interactive gestural interfaces for electronic instruments, converting real world data into sound and composition, and network performance. This research is currently being undertaken in a PhD at the University of Auckland Music School.
Ben Leonard (BJ Leo) is a Taamaki–based composer and sonic artist working with spatial audio and spectral decomposition. His practice explores deconstruction and reconstruction of sonic spectra in multichannel environments, considering how spectral and spatial processes shape perception.
Eli Larkindale is a Melbourne born, Wellington based multi instrumentalist and composer. Larkendale’s composition, Cascades II, was composed with synthesisers, tape loops and electronic feedback manipulation and uses Minimalist techniques such as polyrhythm, phasing and the layering of many voices. The piece can be consumed either from a sweet spot in the middle of the loudspeakers or an installation type work where the listener can move around the physical space to explore the various sounds and the way they interact at different places.
Fern’s work explores the use of analog mixers, DIY electronics, outboard effects and feedback loops to produce experimental works across a range of styles. Fern’s work for Frankensonics will explore the intent and outcomes of environmental creation and storytelling, making the most of the medium and context.
Ivan Mršić & Reuben Derrick’s collaboration, Maungarei Springs Wetlands, was, as the title suggests, created at Maungarei Springs Wetlands, a reclaimed and regenerating eco-sancuary near the Auckland suburb of Mt. Wellington. Existing on the site of a former quarry, Maungarei Springs Wetland is once again home to a population of native birds including pūkeko, tūī and pīwakawaka, as well as various ducks and other waterfowl. Presented as recorded, this piece presents multiple views of a lived interaction between players and environment – a passage of time wherein each influenced the other.
Liam Frizzell is a sound artist from Te Papaioea, currently bankrolled as spatial audio technician for the University of Greenwich in London, UK. Nodding toward entropy, the central concern of Frizzell’s composition, Long Work, is with the evolving disorientation that can be found in incessant reduplication, and how incremental desynchronisation of a sound’s spatial, spectral, and temporal qualities provide listeners openings to entrancement and/or destabilisation.
Malcolm Dunn is a guitarist, artist, and acoustician based in Tāmaki Makaurau/Auckland. He creates improvisational soundscapes as a member of the Lower Bar Collective, as a solo artist under Colm, and frequently participates in non-idiomatic improvisation sessions at Vitamin S. His sound work, St Kevin, is inspired by the physical space, its association with local art and music as well as the 6th Century Saint who shares its name.
Rob Thorne’s (Ngāti Tumutumu, Tainui) work has been at the forefront of the revival and renaissance of traditional Māori instruments for over 25 years, crossing orchestral, electronic, jazz, and free improvisation, leading to solo and collaborative performances around the world. His piece for Frankensonics, Throat of the Tūī, positions listeners within the dual voice box of this beloved taonga – a space from which the bird’s elaborate and varied songs emanate. Known for its extensive vocal range and repertoire, it is the tūī’s unique combination of voice boxes, along with its nine pairs of singing muscles and unique beak structure which give the it the ability to mix melodic notes with clicks, grunts, and coughs, imitate the calls of other birds and develop regional dialects.
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