Broadcasting from The Kiosk Public Art Site
Corner High, Manchester, Lichfield Streets, Christchurch, NZ
29 June – 18 July 2006
|Radio Kiosk Programme
The Night Air,
ABC Radio National, Australia
Phoebe’s Brand New Key,
Fleet Fm, Auckland
Rebirth of our nation:
The Cronulla Riots,
FBi Community Radio, Sydney
Rotate Your State,
Sunday Night At The Movies,
FBi Community Radio, Sydney
Radio kiosk curators
The Physics Room
A contemporary art project space
Public art site
Radio kiosk transmitter builder
Mini FM, transmitter design
The Audio Foundation
Hub for nz experimental audio +
source of radio kiosk contributions
|Radio Kiosk is an
experimental radio compilation. It
gathers together experimental radio shows and music labels from around
New Zealand and Australia, into a single programme broadcast from the
Kiosk Public Art Site on the corner of High and Lichfield Sts in
Christchurch. It is a
radio station made up of other radio stations, an adventure in
adventurous radio, channelling the sounds of other times and places.
Radio Kiosk broadcasts through a small handmade transmitter built by Adam Hyde, and designed by Japanese ‘mini fm’ pioneer, Tetsuo Kogawa. Kogawa inspired Japan’s ‘mini fm’ boom in the early 1980s, by establishing radio stations that broadcast across only a few Tokyo blocks to evade Japan’s strict broadcast licensing laws. Most radio stations try to transmit with great power across a wide area, so that their audience can listen as they go about the rituals of daily life – at home, in the car, at work. Mini fm deliberately restricts its transmissions to its immediate surroundings, so that it physically draws its listeners in. Radio Kiosk will have a very small transmission zone; audible within a couple of blocks through your own portable radio, car stereo or walkman. It will be audible without a radio receiver when you are standing very close to the kiosk.
The Radio Kiosk programme was contributed by radio hosts and musicians from New Zealand and Australia. Some of its content was first broadcast last week, some was broadcast last decade - these are the transient products of other radio stations, plucked from the ether for another listen. The programmes will be played randomly for three weeks, so that the unpredicatable content is never predictable.
Radio Kiosk transmits recordings of radio shows from rdu (Christchurch), Fleet fm (Auckland), the ABC (Australia), and FBi radio (Sydney). It also plays sample selections from New Zealand experimental record labels Pseudo Arcana (Welington), Fiff Dimension (Nelson/Melbourne), and CLaudia (Auckland).
The project was partly inspired by a discussion on the Audio Foundation mailing list about experimental radio shows in New Zealand, and reminiscences about 'Rotate your State' / 'Rotate', a discontinued but much loved feature of Christchurch radio station rdu. Rotate's last host, Sally McIntyre, has written an extremely evocative essay about the show's intentions and processes to accompany the selection of recordings that feature on radio kiosk, which is recommended reading here.
Radio kiosk is coordinated by Zita Joyce and Adam Willetts, with The Physics Room, Adam Hyde, and Sally McIntyre. Content compilation and transmitter installation by Danae Mossman, Vanessa Coxhead and Jamie Richardson.
The Night air – Broadcast on ABC Radio National, Australia
The Night Air is an ever-changing, 90-minute radio composition of music, sounds, ideas and stories. The program is a seductive remix of forms—ranging through short monologues, songs, dialogues, diatribes, essays, poems, short stories, cut-ups, columns, speeches, recipes, sound art, rants, environmental recordings, weather reports and instrumental music. The Night Air is presented by New Zealand born arts producer Brent Clough.
The Night Air programmes are now availabe as podcasts from
Not Just Hot Air – Broadcast 25 June 2006
Steam is what you get when water turns to a vapour and from then on the only motion is locomotive. Plus there's a whole surface of Bubbles - bubbles in tea, in the blood - going round the bends at 12 fathoms and in the hot air of urban mythology. Don't worry, later we'll settle down in a nice warm Norwegian wood room for a relaxing sauna.
Pressure Points – Broadcast Sunday 18 June, 2006
As the stress of contemporary life gets worse every minute, we've decided not to opt out but to go deeper. We're searching for the pressure points - spaces, places and people full of tension - which strangely enough, often improve with a good rub.
Shacks - Broadcast Sunday 11 June, 2006
In this week's show we focus on that icon of Australian architecture: the shack. We'll hear Tasmanian coastal shack-dwellers talk about their lives and, of course, their shacks. No journey into shack-land could be complete without the odd bit of flotsam and jetsam, not to mention the requisite authoritative architectural commentary.
Fans! – Broadcast Sunday 04 June 2006
Barracking and sticking with your team - even if they are the underdog - will it be enough to get them over the line? On the terraces and in the clubs in The Night Air this evening for the agony and the ecstasy of unscripted drama. Lie back and think of Australia, as, for one night only, we throw away any notions of balance and immerse ourselves in the world of total bias.
Phoebe’s Brand New Key – Broadcast on Fleet Fm, Auckland 7-9 pm Wednesdays. (www.fleetfm.co.nz)
Phoebe's Brand New Key has been part of the FLEET FM family since they started broadcasting from a construction site in July 2003. Phoebe's Brand New Key is produced by Margot Disbury. Endeavoring to bring the listeners 'music of a brand new key', she is known to play the entire 'Jesus Blood' by Gavin Bryars to 'I am sitting in a Room' by Alvin Lucier- both with mixed response, as well as more contemporary genius such as Atom Heart and Venetian Snares.
Margot Didsbury is an intermedia artist based in Auckland. She studied at Elam, graduating in 2003, and completed an artist residency at USF Verftet in Norway in 2004. She has shown and performed work around New Zealand, including The Physics Room, Blue Oyster, rm103, and her recent collaboration with Lebanese artist Akram Zaatari for the Interdigitate festival at mic. She is about to begin her Master's degree in Contemporary Music at Goldsmiths College in London.
December 7, 2005 (With Sally McIntyre)
January 11, 2006
February 1, 2006 (with Gary steel)
February 22, 2006
March 1, 2006
Raudio Podcasts (http://www.park.nl/)
Raudio podcasts are bimonthly podcasts of raudio events around the Netherlands, these were selected for radio kiosk by producer Harold Schellinx (www.soundblog.net).
A performance, a recording, and a recording of a new performance of the recording.
For details: http://www.harsmedia.com/SoundBlog/Archief/00548.php
Sonic adventures on the Isle of Ameland, in the Waddensee. For details:
From the Media Art Friesland festival, September 2005.
For details: http://www.harsmedia.com/SoundBlog/Archief/00564.php
A podcast of pocket movies. For details:
A 'CosMix' in Mr Okhuizen's audio equipment stall at the Waterlooplein Market, Amsterdam. For details: http://www.harsmedia.com/SoundBlog/Archief/00578.php
A secret concert in the cafe of deBalie, in the early evening of Wednesday April 19, 2006.
For details: http://www.harsmedia.com/SoundBlog/Archief/00580.php#geheim
A headphone streaming concert at the Centraal Museum, Utrecht, attempting to play with the Indonesian concept of 'Jan karet', elastic time. May 7, 2006.
For details: http://www.harsmedia.com/SoundBlog/Archief/00582.php#jamkaret
A performance at the 'Kunst Vlaai', alternative art show in the Westergasfabriek, Amsterdam. May 9 + 10, 2006. For details: http://www.harsmedia.com/SoundBlog/Archief/00583.php
Amsterdam field recordings: "Zuivere Slaolie" (first)
1. one 6'18"
2. two 5'35"
3. three 7'14"
4. epilogue 0'37"
recorded in Amsterdam (Oost and De Pijp), the Netherlands on Wednesday October 26th, 2005 between 12h00 and 13h00 with a Sony TCM-500DV Standard Cassette Voice Recorder
and a Sony ECM-T145 lapel microphone on a HEMA C90 ferro normal type 1 cassette, in mono.
Rebirth of our Nation: The Cronulla Riots - Broadcast on Sunday Night At The Movies,
FBI 94.5 FM Community Radio Sydney (www.fbi.org.au)
"This was made after the cronulla riots, using all the news reports and talkback radio with the soundtrack that DJ Spooky used to re-score 'Birth of a Nation'... For me it was a way to comment on the mixed reports and emotions that the event fuelled around the country. It's pretty 'busy' and packed with overlapping audio and interviews - kind of mirroring the way that the media bombarded us with information and opinion." - Imogen Semmler, producer.Produced by MisInformation, 2005
First broadcast, January 1, 2006.
Sunday Night At The Movies is FBi's experimental sound hour.
Rotate Your State - Broadcast through the 1990s on rdu, 98.3fm, Christchurch
Rotate Your State, as it was originally called, (before being shortened to the more casual, sentimental ‘rotate’ somewhere along the way, a gesture partly respectful of the baton-passing networks of underground radio tradition, partly a back-pat for the dearly loved haven of live-to-air sonic pondering it became), was a show that ran on Christchurch radio station rdu, spanning the 1990s with a bit of overflow into the 2000s, from 9-11 on Thursdays, and then, for the last two years, at the same time on Sundays. Two hours a week for over ten years is a lot of audio, and a temporal stretch one cannot hope to compress in a compilation like Radio Kiosk, but perhaps the tip of rotate’s sonic iceberg might at least be hinted at by the shows I have included here, which represent four of the show’s hosts, and include rotate’s idiosyncratic ads, pieces of radio art in themselves, which in their cyclic aural signposting perhaps best defined the show’s distinct, if interrelated, eras. Thus, instigator and patron saint .leyton’s taciturn layered vocals, post-industrial ambient reverb soundscape, and “heartbeat-with-carcrash” coda becomes K8’s recontextualised, giggle-inflected personal answering machine message to a friend, recorded while she was in the studio doing the show (“Hi, I’m at rotate and you’re not home, it’s a really good sesh’ if you’ve been listening…!”), which in turn becomes the rather more anonymous, strongly Stockhausen-indebted mash of vocals & static-between-stations which defined rotate’s final three years under my curatorship, all in their own way ‘showing not telling’ what the show was all about: ultimately, the pure creative and intellectual joy of mucking around with sound, of melting into flux all ideas of solid musical genre boundaries, as well as (often) the boundaries between the sonic storage artefact and the performative live event.
Because rotate was radio made by people who spent at least part of their everyday lives as artists (musicians, actors, curators, writers), it was also essentially both an excuse for us to listen to things we liked, and to find other, unusual things, to collect unlikely sonic objects and force them into even more unlikely and disorienting juxtapositions. So tapes found in op-shops, our favourite films re-envisaged as radio plays, and ancient records borrowed from the public library’s mouldering back-room stacks sat alongside favourites from record collections constantly being replenished and modified with treasured compilations ordered (often ‘blind’) during the frontier days of internet mail order lists. We navigated by our own logics but provided enough thematic clues for the curious. One example among many: in 1998, Oval’s Marcus Popp was in town (an appearance largely instigated by Radio Kiosk co-curator, ((ethermap’s Zita Joyce, in her then-role as rdu programme director), and to celebrate we dedicated a whole show to this glitch-pioneer’s music, finding that between two of us we had enough to fill a whole (rather minimal!) two hours. When one of our duo, k8, who was the support dj before Popp’s performance the next evening, informed him of this show he said with bemusement it was the first time he’d heard of such a pronounced event of ‘endurance radio’.
Rotate as a forum taught us much about radio as aural cultural research, of the value of the long history of radio and sound art and of sound’s intersection with other artforms, of the creative potential of unearthing the world as sonic material, as found scraps and jewels and fields of force and broken shards, of juxtaposing the sublime and the ridiculous, the bombastic and the minimal, the compelling and the superfluous. Such ‘serious play’ sustained our belief in broadcasting as an active, rather than a passive passtime. It infected us with its sense of dry humour, and charmed us with its cryptic artistry and studiously meticulous non-definition, becoming a kind of wallpaper music for those listeners who were, for whatever reason, also in a convivial state of mind to become obsessed with the detail of such curvaceous, chaotic sonic arabesques. While live to airs and interviews were more common in later years, we never let the show lapse into any kind of professionalism, believing strongly in the notion of student radio being akin to a kind of “on-air artist run space”. In this, we gave broadcast time, often live, to sound-makers, both locals and visitors, who shared our experimental aesthetic, and were unlikely to be heard elsewhere on the airwaves. More small scale DIY tricks in the studio could be as basic or quirky as panning rdu’s archaic soundboard’s speaker dial from left to right and back again at intervals, so that the sound would also travel as such on the receiving end, or indulging in the occasional live vocal experiment. We didn’t take rotate ‘seriously’, believing it utterly ephemeral, but it was simultaneously full to the brim with ‘serious music’, and we invested everything into it, as it became both mirror to and part of the everyday fabric of our lives. We perhaps knew, even at the time, that we could not easily have gained elsewhere what a few years at its helm taught us about how to listen with agency, and that the notion of djing as an intent and concentrated form of independent creative curiosity that we developed through rotate would stay with us in our various ways far into the future. We seldom broke its momentum with talk, wanting listeners to get completely lost, or else to ring up and talk to us, hoping to reconfigure the linear hegemonies of broadcast toward more of an experiential circuit, or more of a one-on-one communicative relationship. We always wondered who was out there listening, and hoped, that if there were indeed more participants in our experiment than merely us, that they were having as much fun as we were.
sally mcintyre, june 2006
Featured shows (with thanks to Marcus Winstanley for digitising):
rotate your state, 24-9-1993 host: .leyton
includes: kermit the frog: ‘its not easy being green’
rotate, 4-6-2000 hosts: sally mcintyre, michael cusdin
includes music by/from:
“the day my favourite insect died” compilation
stars of the lid
plus: audio from A. Tarkovsky’s film “Andrei Rublev”
rotate, june 2002 hosts: sally mcintyre, kate mcanergeney (+ photo of the show in action)
new Melbourne electronica special
includes music by:
other people’s children
dust vs. stars
pretty boy crossover
plus: readings by contemporary Australian poets
rotate, april 2001 host: sally mcintyre
Coco Solid City label special
interview with Wade Walker from Montreal/Melbourne/French audio/visual collective Battery Operated
live-to-air set by Battery Operated
Sonic Subversion - Broadcast alternate Wednesdays 11pm - 1am
rdu, Christchurch (www.rdu.org.nz)
Sonic Subversion is hosted by Nomex - the pseudonym of Paul Kidd, under which he has been performing and releasing audio and video works for many years. Nomex has performed in many diverse locations around the world, from the ICA in London to the squatted galleries of East Berlin, from huge outdoor festivals in France to the trash bars of Milwaukee, from the Red Factory in Switzerland to the Link in Bologna, from the Parisian catacombs to the established art spaces of Holland. His uncompromising approach to 'concrete sound' has brought him to be on the same bill as Panasonic / Sudden Infant / Mego / Bruce Gilbert / Disinformation etc. He even was mentioned in the Rough Guide to Drum and Bass as an influence on the developing Breakcore scene through his bizarre turntablism and various self built drill turntables. Paul/Nomex is currently residing in New Zealand and is hosting the 'Sonic Subversion' radio show on RDU, alternate wednesday nights 11 till 1am. The show is an audio collage of obscure avant garde to digital trash.
He also runs the Adverse record label releasing árt music', and has released numerous Cd's and Vinyl records.
The Soundmine – Broadcast alternate Wednesdays 11pm - 1am
rdu, Christchurch (www.rdu.org.nz)
The Soundmine is hosted by sound artist and writer Stanier Black-Five: extracting gems from music’s more extreme and experimental depths on alternate Wednesdays from 11pm to 1am on Christchurch’s rdu 98.5FM.
Featured episode tracklists:
Soundmine 1 Pt 1
Scud & Nomex - Total Destruction
Add N to X - Revenge of the Black Regent
Human League - Dignity of Labour
Whitehouse - Munkisi Munkondi
Patric C - Long time no speak
Somatic Responses - Wherever
Otomo Yoshihide - Nintendo from The Night before the death of the sampling virus
Vomit Lunch/ Stockhausen & Walkman - Unskilled vegetarian remould Force
Coil - Are you shivering
Pansonic - Urania
Merzbow - 1930
Graeme Revell - Chimpnags-Apes of the Union Canada: America
Psychic TV - Dawn
Soundmine 1 Pt 2
DiS - Burning Graves
Hanin Elias - You will never get me
Zoviet France - Monomish
Daniel Menche - Vent
Quintron - from “The First Two Records”
Hafler Trio - Fuck
Pierre Henry - Éveil
Soundmine March 2006
Somatic Responses – Adeladia
Alvin Lucier – I am sitting in a room
Paul McCarthy – Boston Bay
Tom Waits – The earth Died Screaming
Wlodzimierz Kotonski - Mikrostrucktory
The sound of Jack’s Blowhole (Caitlins Coast)
Soundmine Nurse with Wound special:
NWW - Rock n Roll Station
NWW – Trk 3 - Chance Meeting on a dissecting table between a sewing machine and an umbrella
NWW - Dada X - Merzbild Schwet
NWW - 150 Murderous Passions
Whitehouse – 150 Muderous Passions
NWW - Registered Nurse Second Coming
NWW – 2nd track - Homotopy for Marie
NWW - A precise History of Industrial Music
Steven Stapleton/David Tibet - The sadness of things
Current 93 – Great Black Time II excerpt
NWW - Coolorta Moon
NWW - Rockette Morton
NWW - The Dadda's Intoxication
MWW - Colder
Sonics from The Soundmine, April 2006
Masonna – Beauty
Evil Moisture & Macronympha - Transsexual BBQ Holocaust
Merzbow – Slave New Desart
Ripit v Sexochii – Whether it be violent or not
Patric c - Long Time No Speak
Pill Driver – Pitch-Hiker
Human League – Introducing
Coil – Are you Shivering?
Messiaen – from Et Expecto Resurrectionem, Mortuorum
Louis & Bebe Barron - Main Title from Forbidden Planet
Billy Ray Cyrix – Centerfold (Cock ESP Remix)
Paul McCarthy – Boston Bay
Nurse With Wound – Duelling Banjos
SLK – Hype! Hype!
Soft Pink Truth – In School
Train Tracks by Stanier Black-Five
Stanier Black-Five is an ex-UK and recently New Zealand-based sound artist, DJ and writer, who largely fashions her often aurally challenging soundscapes from environmental recordings and found sounds. She has made numerous visceral perfomances in the UK, at events such as the London Musician's Collective's Annual Experimental Festival, across Europe and more recently in New Zealand, playing an events such as Christchurch Arts Festival's Bomb the Space event. Stanier Black-Five now hosts The Soundmine radio show on Christchurch's RDU station. Train Tracks is one of the sporadic releases on her Argot Record label. More information on Stanier Black-Five's work can be found on www.myspace.com/stanierblack5.
Trains in Trouble
Sunday Night At The Movies - Broadcast on FBI 94.5 FM Community Radio Sydney (www.fbi.org.au)
Soundtransit is produced by Nick Mariette, an experimental audio producer, field recordist, and microphone builder, who is working on his PhD on location-aware spatial audio rendering systems at University of New South Wales in Sydney. His audio work often uses unusual digital processes such as granular synthesis, ambisonics and other sound spatialisation, with algorithms such as flocking and physical modeling thrown in for extra flavour. He recently built an ambisonic microphone to record 3d sound fields, and has also built and uses binaural microphone sets. Nick produces radio works for "Sunday Night At The Movies" on Sydney's largest community radio station, FBi. Other works include "Yellow Mondays", a generative multichannel work that implemented "swarming, spatialised granular synthesis", presented by Caos Sonoscope at LocAlgSon 2003 in the Centre de Cultura Contemporània de Barcelona. Nick has also presented on a panel about science/art collaborations at ISEA 2004 and on panels, workshops and masterclasses at Electrofringe electronic arts festival in Newcastle, Australia in 2002, 2003, 2004 and 2005. (http://soundsorange.net)
Sound Transit - Broadcast on 23rd April 2006 (FBi, Sydney)
This week on SNATM, join us on a tramp through the creative commons of phonography as we traverse the diverse sounds of six continents on an ever-changing aural exhibition of free recordings contributed to the wonderful "sound transit" website. Compiled by Nick Mariette using original field recordings downloaded from SoundTransit, which are licensed under a Creative Commons Attribution 2.0 license. Field recordings used were by: Derek Holzer, Aaron Ximm, John Grzinich, Maxim Shentelev, Planktone (aka Ward Weis), Jarra Schirris, Anna Friz, Marcello Mercado, Cedric Peyronnet, Rob Curgenven, Dallas Simpson, James Dunn, Takasaki Ryosuke, Keith de Mendonca, John Hopkins, Nick Mariette, Sean ONeill, Justin Hardison, Alessandro Bosetti, Toby Sinkinson.telev, Planktone (aka Ward Weis), Jarra Schirris, Anna Friz, Marcello Mercado, Cedric Peyronnet, Rob Curgenven, Dallas Simpson, James Dunn, Takasaki Ryosuke, Keith de Mendonca, John Hopkins, Nick Mariette, Sean ONeill, Justin Hardison, Alessandro Bosetti, Toby Sinkinson.Part1 - human
Part2 - industrial
Part3 – nature
India - originally broadcast on 20th June 2005 and replayed on 14th August 2005 (FBi, Sydney)
This week, Nick Mariette and Drew Clarke celebrate the vast and diverse country of India from a first-time visitor's perspective - taking you through cities, up to temples and down to the ghats; and much more.
In Transit Soul – Broadcast 28th November 2004 (FBi, Sydney)
In his book "Matter and Memory", nobel prize winning philosopher Henri Bergson explores the concepts of soul and body not as a split, but as a continuous axis, linked through memory and movement. This itinerant Sunday Night At The Movies hitches a metaphysical ride through the material world to discover a winding path through the soul, revealed in transit
CLaudia (Compact Listening audio) is an experimental music cd-r label run by Tim Coster focussing on field recordings and almost musical sounds. Two CLaudia are featured here, along with live recordings from the first Audio Pocket event, which inspired the Procession compilation. Avant Audio Pocket is also the name of Tim's radio show on Auckland's Fleet FM (Mondays 3-5pm, sadly not included in this broadcast). CLaudia's website is www.halftheory.com/claudia/ , with new releases coming soon from Muffin Seeks Sunship, Métal Rouge and more...
Audio Pocket 1
Live at Canary Gallery, Auckland
Tuesday 5th April, 2005
01. Tim Coster & Mark Sadgrove (14:13)
02. Nigel Wright (13:38)
03. Helga Fassonaki (11:38)
04. Adam Willetts (14:16)
CLaudi_07, January 2006
01. Nigel wright "Unbalanced" (4:07)
02. Adam Willetts "Pestilential Vapors" (4:02)
03. Tim Coster "Amber roses" (2:19)
04. Helga Fassonaki "[a C#/D departure]" (4:30)
05. Mark Sadgrove "This morning, thick with fog" (2:56)
Witching Hour: a compilation of field-recordings of night-time
CLaud_i05, October - December 2005
01. P. Westbourne "Dawn chorus" (12:28)
02. Un Ciego "Korogi gate" (3:00)
03. Lau Nau "Keskellä yötä" (7:40)
04. Tim Coster "Drop time" (4:13)
05. Richard Francis "Night fields" (8:04)
06. Felicity Ford "Midnight kitchen" (8:04)
07. Paintings of Windows "Gilgit" (6:57)
08. Phil Dadson "Sleep trio" (14:59)
Fiff dimension (www.fiffdimension.co.nz)
Dave Edwards started Fiff Dimension in 1998 to release his first album Scratched Surface, and the label is now run cooperatively by a community of artists from New Zealand and Australia. Fiff Dimension is based in Nelson with a branch in Melbourne. Dave Edwards is now recording as Dave Black, and is currently based in Nelson.
Dave Edwards - Gleefully Unknown: 1997-2005
An executive summary of eight years work & evolution - also known as a best of compilation. 19 tracks from nine albums plus two previously unreleased works and featuring Chris O'Connor, Paul Winstanley, Chris Palmer, Francesca Mountfort, San Shimla, Nigel Patterson, Antony Milton, Simon O'Rorke, the most articulate Beatles pisstake ever, and the song that gave Wellington band Dope Smoking Wizard its name.
1 On a Bus
2 I Don't Need You (to Grind Me Down)
3 The Winter reunion (edit)
4 Dope Smoking Wizard
5 She Doesn't Love You
6 And in a Who Gets to Who and Who Does and Him (edit)
7 The Winter: Parataxes 9 (edit)
8 The Ghost
9 Cafes in Conversation
10 My Friend
11 Summer Skin
12 Mouth of the Caveman
13 Seals at the Charm School
15 Redressing Regression Aggression
16 Ascension Band: The Riff (edit)
17 The Blue Room
18 O Henry Ending
Dave Black - After Maths & Sciences (2006)
Recorded in Melbourne and New South Wales between May 2005 and January 2006 - an Australian novel for the ear. From banjo clawhammering to techno, plus Japanese woodwind, cello contribution by Francesca Mountfort, and Australian voices, sounds and wildlife. A bold departure from the creator of The Marion Flow, Loose Autumn Moans and Ascension Band.
3 The Greenhough
4 Swanston Street
5 Mynah Birds
6 hic et ups e vol turface
7 O Henry 7
8 Wealth & Riches (Mt Eliza)
9 On a Tram
10 Moreland Station, Coburg
11 Geoffrey Leonard
13 Welcome to Sydney
14 Karaoke Queen
15 The Lebs
16 Morning in Gosford
17 Hot Weather
18 New Year's Eve 05/06
19 Slowed Down Cicadas
The Winter - Parataxes (2003)
The Winter emerged fully-formed on winter solstice day, June 2003. This instrumental trio of Dave Edwards on acoustic and electric guitars, San Shimla on cello and acoustic guitar, and Simon Sweetman on percussion moved from lounge to photo gallery to bar (w/ full drumkit & PA DISTORT) settings, a voyage upwards from the centre of the Earth, documented in Parataxes (2003). The diamond attached to every cover. It begins underground, flies up and then the return trajectory unfolds on Swansong (2004), dedicated to extinct Aotearoan bird the huia.
PseudoArcana is a record label run out of Wellington by Antony Milton. Operational since 2000 it has released over 80 CDs and cdrs. Focussing on psychedelic noise, avant folk and cinematic drone-scapes the label's roster is split roughly 50:50 between NZ and international artists. A recent 3" series has been documenting the output of the new Auckland experimental electronics scene. 99% of the label's product is exported. This is a source of perpetual exasperation for the proprietor!
The Lost Domain - Palace
Brisbane avant-blues practitioners The Lost Domain have been stalwarts of the Australian underground for nearly 20 years, based around the core duo of guitarist David MacKinnon and organist/vocalist Simon Ellaby. 'Palace' presents a remarkably restrained series of subtle movements and moods that were recorded over a few weekends in the ballroom of 'The Pink Palace', an old and virtually abandoned hall in Brisbane. This is The Lost Domain in full band mode with a line up that includes Leighton Craig, Eugene Carchesio and Rick Neville. Organs and plaintive feedbacking guitars call to each other through the reverberant emptiness. There are dream like peaks and lulls as the dynamic slowly intensifies into a deep deep blues howl before the whole band once more drifts away into the ether.
Compilation for Radio kiosk
A selection of Pseudoarcana artists specially compiled for the Radio Kiosk:
1. Seht (Wellington) – old Feet pt 1, from ‘Federacy Boot’
2. A.M. (Wellington) – No Exotica, from ‘Strata’ (Double CDR)
3. Pumice (Auckland) – Abominable, from ‘Spears’
4. Stern/Guerra (Australia) – Aviery, from ‘Outdoor Bowers’
5. Ed Ruchalski (USA) – track 1, from ‘Having it Out’ 3”
6. Birchville Cat Motel (Wellington) – Our Love will Destroy the World, from ‘Our Love will Destroy the World’
7. Paintings of Windows (Wellington) – 4, from ‘Canvas’ 3”
8. Glory Fckn Sun (Wellington) – Convex, from ‘Untitled’
9. Tim Coster (Auckland) – Mornings, from ‘Mornings’ 3”
10. MHFS (Auckland) – from ‘Driving to Rawene’ 3”
11. Stuart Busby (Australia) – Alice’s Dream, from ‘North/South’ double 3”
website made by zita
icons: kiosk box by jonathon/f6 design, transmitter by lotte meijer for streaming suitcase