The new Pretty Boy Crossover record is on it's way - to be released on Sensory/Inertia in July 2007 - under the name of "A Different Handwriting". I guess this album is very much a turning point for Cailan and I - but when is an album not some kind of transition? We work quite slowly so there's always going to be the space of contemplation - as we've been working together for 10 years now, I think we're both getting closer and closer to finding that matching point of our influences finding their settling in the sounds. That said, this record really traces more of those glitch beats meets sub-tone mini-korg bass lines with some very shoegazey guitar - and with the age we are, hey, we grew up with the delicate and melodic-nasty sounds of early MBV and my favourites, Pale Saints. So, there we go. And on this record is our ongoing collaboration with Vincent Giarrusso - also from one of our favourite and all-time Australian influences, Underground Lovers. We have also made a rock-pop album with him too - under the guise. Look out for that on Popfrenzy around the same time... x Jase
Sunday, 25 March 2007
A Different Handwriting
The new Pretty Boy Crossover record is on it's way - to be released on Sensory/Inertia in July 2007 - under the name of "A Different Handwriting". I guess this album is very much a turning point for Cailan and I - but when is an album not some kind of transition? We work quite slowly so there's always going to be the space of contemplation - as we've been working together for 10 years now, I think we're both getting closer and closer to finding that matching point of our influences finding their settling in the sounds. That said, this record really traces more of those glitch beats meets sub-tone mini-korg bass lines with some very shoegazey guitar - and with the age we are, hey, we grew up with the delicate and melodic-nasty sounds of early MBV and my favourites, Pale Saints. So, there we go. And on this record is our ongoing collaboration with Vincent Giarrusso - also from one of our favourite and all-time Australian influences, Underground Lovers. We have also made a rock-pop album with him too - under the guise. Look out for that on Popfrenzy around the same time... x Jase
Friday, 9 February 2007
The Last To See Them Alive: Sex, Slaughter & the City
Currently presenting the first 'in-progress showings' of our Unreasonable Adults work - THE LAST TO SEE THEM ALIVE: Sex, Slaughter & the City - at Higher Ground, Rundle Street in Adelaide. The work takes the premise: "How do you meet Mr Right in an age of Serial Killers?". Using an electronic and piano-based score, monologue texts, live video feeds and some messed up theatrical conventions, this work is part lecture, part dark cabaret, part confession. Texts by Fiona Sprott, Performance by Caroline Daish. The music and sounds all by me. Come along.
After this season we tour to Sydney for another 'in progress' event at The Studio (Sydney Opera House) - then we will go into intensive rehearsals for the development of the work as an ensemble piece to be world premiered in the UK for our participation in the SPILL Festival of Performance in London in April.
The final work will feature a full ensemble of Caroline Daish, Jason Sweeney, Fiona Sprott and Julie Vulcan.
Wednesday, 31 January 2007
Post-Sound
A couple of weekends ago I conducted (is that right word? it certainly sonically inclined, definitely musical) a 'sound art' workshop which I called Playing Out: Making Sound Work. An amazing bunch of 10 artists (plus the glorious presence of Tristan L-R on the second day which nearly brought audible tears to me eyes) who came to the workshop with some or no prior experience of working with sound. So for me it was an incredible opportunity to explore without too much construct, without that level of imposed practice (which doesn't always make (for) perfect (workshops)). In fact, what I love about conducting (watch me keep using this word) such a thing (cos it was one, a thing) was the very nature of "play" and open space: space to be tasked and to get one with it.
The task based exercises ranged from taking objects/books/cds/vinyl/little toys from a long table and being given a relatively short space of time to 'compose' a piece, often being instructed to use no more than 1 or 2 instruments devices. Another task was to confront the instrument you fear the most and make it friendly with one you feel more comfortable with. Just a way to make do and make sound. For there was an objective not to too complex about it; to remain simple in idea and realisation; to pursue a thought in a way that doesn't need an over-abundance of 'stuff'.
In essence, the 10 hours we all had to develop ideas (a lot of duos, which I enjoyed, and plenty of solo space too) were a starting point and the crucial element of documentation was there. A CD of 75 minutes duration was made at the end of the second day, comprising recordings (made on a wav recorder) of all the performed pieces. It's a great listen and one I hope the participants really love having in their collections. Like many of these kind of events (or workshops), conducting them/shaping them/guiding a process becomes a curatorial action in progress - a building of ideas that eventuate in an accidental concert of passing bodies.
The task based exercises ranged from taking objects/books/cds/vinyl/little toys from a long table and being given a relatively short space of time to 'compose' a piece, often being instructed to use no more than 1 or 2 instruments devices. Another task was to confront the instrument you fear the most and make it friendly with one you feel more comfortable with. Just a way to make do and make sound. For there was an objective not to too complex about it; to remain simple in idea and realisation; to pursue a thought in a way that doesn't need an over-abundance of 'stuff'.
In essence, the 10 hours we all had to develop ideas (a lot of duos, which I enjoyed, and plenty of solo space too) were a starting point and the crucial element of documentation was there. A CD of 75 minutes duration was made at the end of the second day, comprising recordings (made on a wav recorder) of all the performed pieces. It's a great listen and one I hope the participants really love having in their collections. Like many of these kind of events (or workshops), conducting them/shaping them/guiding a process becomes a curatorial action in progress - a building of ideas that eventuate in an accidental concert of passing bodies.
Thursday, 18 January 2007
I did it for Tristan
I sort of set this up so I could link in to Tristan Louth-Robin's blogspot... No. Really.
Anyhow - I will try to embed this in my soundslikesweeney.com website so it's easier to access.
Watch me go.
Anyhow - I will try to embed this in my soundslikesweeney.com website so it's easier to access.
Watch me go.
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