“The Final Transmission” 3CD/digital (Iceage Productions) is a new mega-compilation of Australian and New Zealand music, featuring a previously unreleased track by myself and Barnaby Oliver.
Clinton Green (bowed metal bowls) and Barnaby Oliver (struck and bowed strings)
Spring (Tim Catlin and Rod Cooper)
Thursday 25 August 2022 8:00 PM – 9:30 PM
34 Breese St, Brunswick VIC 3056
Barnaby Oliver and Clinton Green use aluminium bowls and strings to create a combination of shifting resonances, coalescing into other-worldly music that at first appears static, yet constantly shifts and re-grounds itself.
Spring features Tim Catlin and Rod Cooper playing their own newly-invented instruments – Vibrissa and Steel Keys.
The 10th and final instalment of the Surface Noise series is out today. Wow, what a journey. The first volume of this split series between Shame File Music and Iceage Productions came out in 2014, each one is a split between two artists contributing live recordings. How it worked is that me and Peter James would invite the initial artist, then that artist would nominate someone else to share their release with, a concept I always liked. And the final one, Surface Noise Vol. 10, appropriately is a split between me (with Barnaby Oliver) and Peter. Mine and Barnaby’s track is a live recording from an intimate performance at LongPlay in 2019 (seems so long ago now), and Peter’s is from Make It Up Club in 2012 (that IS a long time ago!) Get your copy through Shame File Music.
As I am sitting in my comfy chair, reading a book and drinking afternoon tea, I play the new release by Barnaby Oliver and Clinton Green… [Oliver] plays violin and piano…Green plays bowed metal bowls. With these limited sources they set out to play long-form pieces, and they have been doing so since 2017. As I sit back and do all the things mentioned, I listen to music and feel blown away. On the first piece, ‘The Interstices’, they keep bowing the strings and bowls in a very delicate drone-like piece that works very well with acoustic overtones. Think a bit of Organum or Nurse With Wound’s ‘Soliloque For Lilith’, but acoustic. It is refined and rough and works very well. It lasts nineteen minutes but for me, it could have lasted an hour. It is minimally changing and that’s enough. ‘Of These Epidemics’ is four minutes longer, twenty-three minutes in total and here Oliver plays the piano and Green keeps striking and bowing the bowls. Oliver plays chords, loosely and spacious, reminding of the best jazz works from down under I heard before; think Spartak, Gilded, 3ofmillions and Infinite Decimals but also The Necks, I would think. It’s smooth, it’s a bit of jazz and with Green’s backdrop on the bowls, it is spacious as it roughly edged. As I am sitting in my comfy chair, reading a book and drinking afternoon tea, I play the new release by Barnaby Oliver and Clinton Green again. I get up and just play it all over again. It’s melancholic, it’s sad, and I might think this is the best release I heard this week – Vital Weekly 1250
In “The Interstices” the coalescence of metal and strings produces a series of semi-dissonant, never-too-loud organic stratifications. Imagine David Jackman’s rawer output sounding decidedly more moderate – say, as on an Another Timbre recording – and you’ll have a faint idea of what I’m meaning here. The relative fragility of the pitches enhances the release of specific harmonics from their combination, placing the music in a niche between contemplative mood (always with an eye open) and slight uneasiness.”Of These Epidemics” is strongly characterized by Oliver playing peaceful sequences on the piano, a resonance reminiscent of Pink Floyd’s Rick Wright circa “The Great Gig In The Sky” but with an entrancing repetitiveness à la Charlemagne Palestine. The fluctuation of those chords along the strident mantra of Green’s bowed bowls is uniquely delightful. Without the need of revolutions, the duo’s interaction remains accessible to most everybody. Overall, an appreciably unadulterated work – Touching Extremes
The Interstices Of These Epidemics is my brand new album with Barnaby Oliver, released digitally today on Shame File Music. It will also be available as a glass-mastered CD housed in a full colour 4-panel wallet in mid-August (you can pre-order now from Shame File Music for a special price).
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.
in-Stability was the performance series that ran during last year’s Stability exhibition, where performers were invited to interact with my sound sculptures and/or projections.
Below is video documentation of some of those performances.
in-Stability is a performance series running Thursday nights through August and September as part of my Stability exhibition, where artists from a variety of disciplines are invited to perform with my kinetic sound sculpture and projection works.
The series continues this week with my duo with Barnaby Oliver. Barnaby & I have been playing together for several years, most recently creating minimalist long-form pieces with violin and bowed metal bowls. This Thursday we will be improvising soundtracks for my video projections in the space.
in-Stability: Clinton Green & Barnaby Oliver
Thursday 15 August, 2019 – 7:30pm sharp
Sunshine Art Spaces, 2 City Place, Sunshine (near Sunshine Station).
22 Aug – Allanah Stewart
29 Aug – no performance (exhibition still open)
05 Sep – Michael McNab
12 Sep – Ernie Althoff
19 Sep – Emma Riches & Sheridan Gerrard
26 Sep – Clinton Green
Tuesday 14 May 2019, 8pm
Clinton Green & Barnaby Oliver duo
Make It Up Club, Bar Open (upstairs), 317 Brunswick St Fitzroy
Sunday 19 May 2019, 9-11pm
Corner of Swanston and LaTrobe streets, Melbourne
The fourth roughly-annual GAIP event/happening of Intersection. Ren Walters ‘explains’ below:
Please join in for a wander around together for part or all and invite whomever may be interested. SOUNDING, sitting, STROLLING, conversing, TRAVERSING, processing, obsessing, STARTING, stopping, observing, draping, SKATING, voicing, running, CRAWLING, stalling, jaywalking, SKULKING, SILENCING, mumbling, bumbling, INTRODUCING, intersecting, WHISPERING, breathing, ARRIVING, LEAVING, fumbling, tumbling, huddling, falling, REVERSING, INTERSPERSING and so on . . .
To quote a past participant; “I came along, couldn’t see nothing so I went home”
And; during the performance I received a text from a co-performer “where is the music, where is the performance?”
The following is the original “score”;
INTERSECTION – (a point or line common to lines or surfaces that intersect.)
Participants continuously cross at the four traffic lights on each corner of the intersection, for one to two hours duration.
The dream is to be invitational through practicing/embodying openness and generosity toward the environment and fellow pedestrians. Taking the uncontrived opportunities that arise through this immanency.
This mode of being may be enhanced or facilitated by particular movements, gestures, appearances, sounds, props etc., when understood as ‘enabling strategies/techniques’ to generate momentum, to supplant self-consciousness, to stimulate a ‘performative frame’.
In circumnavigating this space, our attentive presence and movement will charge an energetic field in the vicinity.
If for some reason you become diverted from this prescribed activity (by engaging in conversation, missing the green light because you were staring at the sky, taking a tourist to the nearest bus stop, etc.), this can be considered fortuitous. Then just return to your activity.