Purchases can be made through Shame File Music, where available.
Albums/full length CDs, cassettes
Clinton Green & Barnaby Oliver/Peter James “Surface Noise Vol.10” CDR (Shame File Music/Iceage Productions, 2021) Since 2014, the Surface Noise series of releases has documented live performances by Australian experimental and noise artists. The series of split releases appropriately concludes with contrasting works by the two minds behind the enterprise. Clinton Green (Shame File Music) duos with Barnaby Oliver in an intimate set of lower case acoustic drone (bowed metal bowls, violin, piano) recorded at Long Play in 2019. And Peter James (Iceage Productions) closes out proceedings with and expansive synth drone symphony that opened ears and minds at Make It Up Club back in 2012. As with the entire series, mastered by James A. Dean at Electric Sounds. Limited edition of 50 hand-numbered copies.
Clinton Green “Here?/Secret” digital/cassette (Shame File Music, 2021) A new work of tape compositions reimagining voice and the reverberant influence of collaboration.
Clinton Green “Relativity/Only” LP/digital (Nice Music/Shame File Music, 2021) Relativity/Only is Green’s clearest refinement of the dutiful and curious work he has cultivated over several years in recording his gently automated percussion experiments. Green conjures a celestial zoom view of a very private cosmos, using turntables as a source of movement and various static or suspended instruments and repurposed objects, captured in a softly endless world of binaural ambience. Unable to repeat a single step or rhythm given the mostly hands off methods Green employs within simple physics and gravitational axioms, this pointillist approach to automatic composition almost seems to render time or duration static. Encouraging the listener to either take in the view as a moment’s glimpse or to become deeply engrossed in its crevices, Green’s work offers as much or as little as the senses care to seek. Perhaps akin to watching a fireplace at night or watching ants march through the grass.
Clinton Green & Barnaby Oliver “The Interstices Of These Epidemics” CD/digital (Shame File Music, 2020) In April 2017, Barnaby Oliver and I started recording with the aim of improvising long-form pieces made up of a restricted palette of gestures and sound sources. Throughout the next two years we came together sporadically as we continued this quest, working through various ideas and changing instrumentation. Our work was gradually refined done to what you hear on this album: a combination of harmonics arising from bowed metal bowls and violin (or piano), coalescing into other-worldly music that at first appears static, yet constantly shifts and re-grounds itself
Clinton Green “Thylacine” CD/digital (Shame File Music, 2018) These four tracks were created and recorded at various locations in Cradle Mountain National Park and Cradle Mountain Wilderness Gallery (Tasmania), during my residency there in October 2017. The two outdoor tracks attempt to bring wildlife and environmental sound to the fore, with my own sound in a supporting role. The tracks recorded inside the gallery focus on acoustic turntable preparations, with the sound of the extinct fauna calling at intervals from a nearby exhibit. Limited edition of 100 copies.
Clinton Green & Ernie Althoff “Blindfold test” CD/digital (Shame File Music, 2018) “I think I know how these four machines sound”, Clinton said of the images of Ernie’s recently constructed kinetic sonic machines.
“Ok, then build four pairs for these, send me the images and the sound files, and I’ll mix them down to four duet tracks”, Ernie replied. These became Part 1 of ‘Blindfold test’; the name stuck from the start.
Part 2 eventuated when the duo were asked to perform at ‘Autumnal sounds’, a house event in Bayswater North. Three different and separate turntable pieces were devised by each player. These were performed back-to-back for added theatrical effect, with photos and videos only later revealing the processes. A mobile phone alarm ended each section.
Limited edition of 100 copies.
Clinton Green “Iliad” CDR/online (Frustration Jazz, 2018) This new CD is a live recording of the complete version of my piece ‘Setting for “The Iliad”‘, based around excerpts of Peter Green’s translation of Homer’s epic. Different versions of this piece have appeared elsewhere; including an early live excerpt on ‘Lay Your High City Low’, and a studio version broadcast on Ears Have Ears last year, but this is your first chance to own the complete work itself.
Clinton Green “Lay Your High City Low” online/cassette (Illuminated Paths, 2017) First solo album since 2015 documents recent years work with turntables in a variety of situations, including self-playing acoustic installations, rhythmic noise generators, and key instruments for compositions incorporating text. Also available on limited edition cassette.
Ren Walters, Clinton Green & Michael McNab “At the Salt Museum” CD/online (Shame File Music, 2017) In December 2015, we camped at Murray Sunset National Park in northern Victoria, Australia. During our time there, we sounded various sites and performed ritualistic actions. This album documents our sounding of the rusted salt harvesting machinery we discovered at the outdoor ‘salt museum’ on the shore of the Lake Crosbie saltpan.
Clinton Green & Camilla Hannan “The State Of Sound: conversations about sound art and experimental music” online album (Shame File Music, 2016) Through the summer of 2015-6, Melbourne sound artists Clinton Green and Camilla Hannan conducted weekly conversations on different themes relevant to contemporary sound art and experimental music practice. Originally broadcast on the Smart Arts programme on radio 3RRR FM.
Clinton Green & Barnaby Oliver “Discretions” CDR (Shame File Music, 2015) Thirty short, discrete, acoustic improvisations, where Green and Oliver consciously looked for ways to end the improvisation, rather than extend it. Instrumentation includes violin, bango, gramophone and percussion. Limited edition of 30 copies, each with an individual hand-drawn cover by Anna Dusk (see all thirty covers here), and each with a unique track order determined by a random number generator derived from atmospheric noise. The release is accompanied by a web app that plays the thirty tracks and the displays the thirty unique covers in random order.
Clinton Green “In Situ” CDR (nonlinear, 2015) Composed from turntable manipulations of Todd Anderson-Kunert’s ‘The situation we’re in’ seven inch vinyl. Available in an edition of 30 CD’s, each with an individually hand constructed collaged cover made by Jessica Anderson-Kunert (using visual source material from the same release).
Clinton Green & collaborators “Address Book” online album (Shame File Music, 2013-2015) An evolving album of collaborative tracks with a range of other artists, spanning the breadth of Green’s 20+ years of musical exploration. Tracks are added gradually and in alpha order according the band/surname of the collaborator, until this virtual address book of 26 collaborations is complete.
Clinton Green & Andrew McIntosh “Kasoundi” CD (Shame File Music, 2013) Collaborating originally on The Unnameable project (2002-5), Kasoundi sees the two artists combine their more contemporary interests in minimal, often-acoustic, noise improvisation. Exploring the natural and manipulated sonic properties of a variety of objects and machines (record player, tape deck, rocks, bowls, percussion instruments, kitchen utensils, aluminium foil, broken records), the duo weaves a naturalistic yet compelling series of improvisations that alternate between slow-build tension and luxuriating in these unique sonic textures.
Clinton Green “Turntable At Dawn” CDR (Shame File Music, 2012) This unedited recording was made in Green’s backyard in January 2012. His instrument was an ‘acoustic turntable’, where objects and percussive instruments are placed on the turntable platter to create chaotic rhythms, in this case attempting to integrate with the ambient sound in the backyard (both natural and industrial). ‘Turntable At Dawn’ is a limited edition of 30 numbered CDRs. Each cover is unique, incorporating pressed flora and herbs from the recording location.
Undecisive God “RPMs 5,6,7” CD (Iceage Productions, 2012) – This series of compositions for prepared turntables continues with three pieces that feature unplugged acoustic turntables, empty turntables and a live multi-performer recording featuring 6 turntables. Rounded out with an abrasive live cut. The liners also contain Green’s ruminations on the evolution of his turntable project (limited edition of 100 copies).
Undecisive God “RPMs 3-4” CD (Shame File Music, 2011) – “RPMs 3×3” and “RPMs 4” are the continuation of a series of compositions for turntables that began in 2008. This concept acts as a basic structure for exploration of different turntable settings, preparations and interactions. All four parts of the series released so far work primarily with layers of broken records/vinyl shards on each turntable, which creates a percussive yet chaotic effect as the tone arm skips from shard to shard, playing brief snatches of music from each. Two other tracks are included – another turntable piece and a collage of field recordings. Ltd edition 100 copies.
Undecisive God “RPMs 2” cassette (Altered States, 2011) – The title track on Side A is a continuation of the developing RPMs series based around a basic compositional structure for prepared turntables. The B side has other recent pieces for guitar, turntable and voice. Ltd to 40 professionally-duplicated copies. (reissued online by Shame File Music, 2016)
Undecisive God/Screwtape “RPMs/Shitless” cassette (Solar Anus, 2010) – Perhaps the first, definitive recording of Undecisive God’s prepared/shattered vinyl set up and the first instance of the RPMs series, backed up with a Screwtape electronic drone piece in three distinct parts with episodes of noise and android voices. Ltd edition of 50 copies (reissued online by Shame File Music, 2016)
Zac Keiller/Clinton Green – Residential CD (ZAC, 2009) These two Melbourne guitar experimenters join up to run the gambit of ambience, drone and noise, with 3 tracks crafted from private improvisations and live performances.
Undecisive God “Everything’s Broken” CDR (Shame File Music, 2007) New works from the previous 3 years, featuring further exploration of turntable/broken record perparations, extended guitar techniques, field recordings and mixer feedback pieces. Download
Undecisive God “Eccentricites” CDR (Shame File Music, 2005) A collection of experiments exploring new guitar techniques, including very physical playing methods and live looping and manipulation. Also features a non-guitar collaborative piece with Greg Wadley (Hi-God People, New Waver). Download
Scott Sinclair & Clinton Green “With Doors Open” CDR (Half Theory/Shame File Music, 2005) – After 3 years of guitar improvisations with Brisbane’s Scott Sinclair, the result is this varied but rounded collection of guitar works. Guitars are used to create eccentric sounds, both jagged and melodic, soft and droning. Download
Undecisive God “A Year of Silence” CDR (Shame File Music, 2005) The result of a 12 month field recording project, a random recording was made once a week and then layered on top of each other to create a sound collage of the mundane. The title track contains all 52 weekly recordings layered on top of one another, and monthly mixes are also included. A limited number of copies were handmade and painted.
Undecisive God “Border Protection Policy” CDR (Shame File Music, 2004) A departure from the previous ambient guitar fair to this extreme noise outing, in protest of Australian anti-asylum seeker policy. Download
AGIT8/Undecisive God split CDR (MDB Records, 2003) This features 4 live tracks from Undecisive God plus some studio pieces, alongside the extreme power electronics of Brisbane’s AGIT8.
Undecisive God “Offering” CDR (Shame File Music, 2003) The concept behind most of the recordings on this full-length CD is the combination of guitar drones of varying tones and textures into a series of canon-based arrangements, exploring the dynamics resulting from the interplay of multiple layers of sound, both through composition and pure chance.
Undecisive God CDR (Shame File Music/Smell the Stench, 2001) The accumulation of a decade of recording results in this CD release, exploring the sonic limits of guitar sound, from ambient meditations to grinding extremes.
Undecisive God “The War Against Sleep” cassette (Black Orchid, 2000) 40 minutes of material making a journey into the outer most reaches of consciousness. Came in attractive and unusual cardboard box/label.
Undecisive God “Purple Silk, Yellowed Clothes” cassette (Shame File Music, 1999) A slight change of direction with some tracks weaving between crystal-fine guitar noise/sweetness to more sonic meandering ambientness, with some hurricane like noisescapes to please the masses. Add a deconstructed ‘Sabbath cover and an extremely sparse Sonic Youth cover. I dare you to recognise them.
Punchbag/Undecisive God split cassette (Shame File Music, 1996) – Shared with Melbourne hardcore band Punchbag (Green’s first serious band). Three Undecisive God tracks with minimalistic industrial values being the key.
Undecisive God “The Celestial Emporium of Benevolent Knowledge” cassette (Shame File Music, 1994) – In a book somewhere I came across an ancient Chinese system which classified all beings into obscure and esoteric categories. Each track represents a category, along with a few of my own categories thrown in. Those that Resemble Flies from a Distance, Those that have just Broken a Flower Vase, Others, Those that Tremble as if they were Mad. We are talking deconstruction of noise here, finishing up with an extended sound/dreamscape. Also from my initial 4-track recorder sessions. Download
Undecisive God “The Difference Between Light and Shadow” cassette (Shame File Music, 1994) – The debut Undecisive God release; once at sunset I was driving eastwards into a great darkness, with the sun’s light setting behind me, and I wondered “How can I leave this light and head into this great unknown?” The contrast of the two are astounding. The key terms with this tape are sparse and minimalistic. Sound drifts in and out, like distant memories you can’t quite place. Or it comes upon you heavily like sleep, occasionally coarse or abrasive. These recordings came from my early use of a 4 track recorder working with solo guitar.