{"id":10131,"date":"2011-09-10T16:18:05","date_gmt":"2011-09-10T06:18:05","guid":{"rendered":"http:\/\/stuartbuchanan.com\/?p=10131"},"modified":"2021-01-30T23:38:05","modified_gmt":"2021-01-30T23:38:05","slug":"new-weird-australia-vox","status":"publish","type":"post","link":"https:\/\/www.stuartbuchanan.com\/archives\/2011\/09\/10\/new-weird-australia-vox\/","title":{"rendered":"New Weird Australia, Vox"},"content":{"rendered":"

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\nThe voice is re-appearing in the experimental context, and emerging more experimentally in popular music. This New Weird Australia compilation brings together a selection of artist working across this spectrum of play.<\/p>\n

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[otw_shortcode_button href=”https:\/\/newweirdaustralia.bandcamp.com\/album\/new-weird-australia-vox” size=”medium” bgcolor=”#000000″ shape=”square” target=”_blank”]Stream \/ Download.[\/otw_shortcode_button]<\/p>\n

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Sleeve Notes.\u00a0<\/strong>by Gail Priest
\nIn the realm of pop music it would be ludicrous to focus a compilation around the voice as the majority of pop music is vocally driven. Perhaps in backlash to this ubiquity the voice has been relatively scarce in the Australian experimental music over the last decade (with a few notable exceptions included here). However we are now in an interesting moment in musical time where the worlds of alternative pop and experimental\/exploratory music slip and slide quite easily around each other. The voice is re-appearing in the experimental context, and emerging more experimentally in popular music. This compilation brings together a selection of artist working across this spectrum of play.
\nThe recent influx of vocal exploration seems causally related to our ability to manipulate the voice with digital recording techniques. A notable exception is Alice Hui-Sheng Chang who uses her pure voice alone to explore the extremes of our primary organ for communication. Similarly pioneering sound poet Amanda Stewart\u2019s vocal play is analogue, then overlaid using digital recording tools (originally 1\/4inch tape). Kusum Normoyle\u2019s overdriven scream is also, to some extent, a raw, unmanipulated expression of the voice. But on the whole, the tracks on VOX use the voice as material to be tinkered with technologically\u2014enhanced, exaggerated, multiplied, warped, stretched and shredded. It\u2019s no longer about the \u2018grain\u2019 of the voice as Roland Barthes called it, but rather its hyper-elasticity.
\nFrom the visceral drama of Kusum, ronnu panda or Donna Hewitt, to the sweet pop play of ku\u010dka or Mosaic Mosaic; from the luscious layered drones of Scissor Lock or Paul Heslin, to the mystic folk of Furchick, Deadly Nightshades and Rabbit Island, VOX displays the voice in all its complex glory.<\/p>\n

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Tracklisting.<\/strong>
\n1.\u00a0KUSUM NORMOYLE\u00a0Octopus (2:35)\u00a0(previously unreleased)
\n2.\u00a0PAUL HESLIN\u00a0Young Girls & Cigarettes (2:42)\u00a0(previously unreleased)
\n3.\u00a0AMANDA STEWART\u00a0Residue (2:39)\u00a0(from\u00a0I\/T: Selected Poems,<\/em>\u00a0Here and There Books \/ Splitrec)
\n4.\u00a0THE DEADLY NIGHTSHADES\u00a0Dobro #1 (2:52)\u00a0(previously unreleased)
\n5.\u00a0KU\u010dKA\u00a0Chinatown (4:26) (previously unreleased)
\n6.\u00a0MIMIC MASS\u00a0Split Radio 01 (4:44)\u00a0(previously unreleased)
\n7.\u00a0HOLY BALM\u00a0Hand Over Fire (4:57)\u00a0(from\u00a0Holy Balm<\/em>\u00a07\u2033 on Hustle Muscle)
\n8.\u00a0MAJOR NAPIER\u00a0School Of Anxiety #2 (3:35)\u00a0(previously unreleased)
\n9.\u00a0ALICE HUI-SHENG CHANG\u00a0Vein (4:28)\u00a0(previously unreleased)
\n10.\u00a0DONNA HEWITT\u00a0Drowning (7:18)\u00a0(from\u00a0Time, Space and The Roaring Silence,\u00a0<\/em>SoCA UWS Nepean)
\n11.\u00a0SKY NEEDLE\u00a0Senator (3:07)\u00a0(from\u00a0Neckliner<\/em>\u00a0cassette, alberts basement)
\n12.\u00a0FURCHICK\u00a0Angel Of My Dreams (2:15)\u00a0(from\u00a0Rabbits in Space<\/em>, self released)
\n13.\u00a0SCISSOR LOCK\u00a0Room Tape (8:11)\u00a0(previously unreleased)
\n14.\u00a0MOSAIC MOSAIC\u00a0Brand New (2:13)\u00a0(from\u00a0While We Sleep<\/em>, Bump Foot)
\n15.\u00a0RONNU PANDA\u00a0Brush (5:11)\u00a0(self released)
\n16.\u00a0RABBIT ISLAND\u00a0My Own Private (6:05)\u00a0(from\u00a0O God, Come Quick<\/em>, Badminton Bandit)
\n17.\u00a0JUAREZ\u00a0Favourite (4:15)\u00a0(from\u00a0Revontulet<\/em>, Sabbatical)
\nCompiled by\u00a0Gail Priest\u00a0& Stuart Buchanan
\nArtwork by Heath Killen.
\nCatalogue.\u00a0<\/strong>NWA010<\/p>\n

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Press.<\/strong>
\n\u201cVox\u00a0is quick to extinguish any pretences that it might focus solely on the voice as a musical phenomena; it is open-minded in its inclusion of instrumental drone, mystic folk and field recordings alongside a plethora of vocal techniques spanning several years of Australian experimentalism. A human purity is evident in the rawness and clarity of Kucka\u2019s vocal on \u2018Chinatown\u2019, despite its percussive and East Asian influenced ascent.\u00a0Alice Hui-Sheng Chang\u2019s multi-layering vocally-induced drones on \u2018Vein\u2019 almost work the opposite way, and The Deadly Nightshades\u2019 repetitive \u201c..and it rained on my house, all summer..\u201d on song Dobro #1 is an exercise in vocal layering with some beautiful and emotive results.\u201d
\nThis Music Wins, September 2011
\n<\/a><\/strong>
\n\u201cNew Weird Australia, ever incredible, delivering up this heaping helping of far reaching vocal workouts, fittingly entitled \u2018Vox\u2019 \u2026 what you have here is 17 songs where the voice is the most important aspect or instrument in the track. Some artists seem to simply employ an incredible voice over their own beats while others record and chop and slice and rearrange the human voice to create a new band writing new beats. From epic melodic ballads to harsh abrasive noise, the voice is the key and the answer on this one.\u201d
\nGrindthieves, December 2011<\/strong><\/a><\/p>\n

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New Weird Australia Catalogue.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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