At The Salt Museum is now available in full on Bandcamp for streaming and download.
The tracks that made up this album were originally recorded on 4 December 1995, at the Murray Sunset National Park in North West Victoria. That will be 7 years ago on Sunday 4 December 2022, when Clinton Green & Michael McNab will be playing a duo in support of a rare Melbourne performance from Astasie-abasie.
A small amount of the original CD are still available.
“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.
New track composed and recorded for this themed percussion compilation from Italian label tsss tapes Free Percussion/Water. The compilation also features Ted Byrnes, Jeph Jerman and other exploratory percussionists of note.
I’m also looking forward to releasing a collaborative album with Ian Andrews (Astasie-abasie, Cut With The Kitchen Knife, The Horse He’s Sick, etc) on tsss tapes later this year.
Last year I did a number of remixes of material from Buttress O’Kneel’s audiobook mashup album Audiobok. These and remixes by others (including John Jacobs, Robin Fox and Justin Ashworth) have been released in two sets:
I have a previously-unreleased track on this new digital album Let Your Freak Flag Fly: 3CR Community Radio Compilation #1.
My track “Three Turntables from Ernie” was recorded in December 2017, working with three stripped-down turntables and Tibetan bells generously gifted to me by Ernie Althoff.
The album also features Ernie Althoff, as well as Robin Fox, Facetoucher, Furchick, Judith Hamann, Mary Doumany, David Brown, and many more. All proceeds go to Melbourne community radio station 3CR.
Music Under Lockdown: Melbourne 2020 is a new digital compilation album I’ve compiled, collecting recordings made by Melbourne musicians over the recent months of COVID-19 lockdown.
Included is a new duo recording with myself and Nick Ashwood:
This was the last time I played music with another person (July 2020) in the same room at the time of writing. Nick was visiting Melbourne and we quickly teed up a jam, just as the second lockdown was rolling out. My suburb was in lockdown, but my studio was nearby in a non-lockdown postcode. We met there and played for a couple of hours. This was the first time we’d played together as a duo. Nick was staying in North Melbourne, and it was announced that evening that suburb would be locked down at midnight. Within a week or two the whole city was as well.
My new solo album Thylacine is now available online, with CDs available in early October from Shame File Music.
This album consists of recordings made at Cradle Mountain National Park, Tasmania, during my residency there last year, both in the bush and in Cradle Mountain Wilderness Gallery. This was a very exploratory time, working not only with sound but also projections in remote locations; the cover art (above) is of a projection in Waldheim Chalet in the National Park.
Thylacine is available for free streaming above. You can purchase the downloadable version now, or pre-order the CD at the above link.
This is a rough, unedited recording of a developing experiment involving multiple prepared turntables that interact with each other.
I rigged up a long pole above my work bench to address the practical issue of making it easier to change suspended objects hanging over turntables without having to climb up on a ladder to attach them from the ceiling. The pole is suspended in three places by fishing wire, and the idea was that objects could then be suspended from the pole, in easy reach. What I found in trying this out was that the pole itself swayed in all four directions as each suspended object struck a prepared turntable below it. This inadvertently addressed a concept I have been working on for the past few months, where several prepared turntables interact physically with each other, rather than existing solely in their own closed systems.
I then gradually set up more turntables on the workbench, each with their own preparations, both on the platter and suspended above, until the four (pictured) turntables were in place. This recording is the audio of the four units. Towards the end, I gradually removed some of the more sonically-strident objects to give space to other more subtle rhythms and textures.
Below is a short video demonstrating the set-up visually:
Recorded at NTU, Taipei, 6 July 2015.
From Moe Chee‘s forthcoming album “Be It Hot, Humid or Vice Versa”