Chapter synopsis & additional background material

Acknowledgments & Imprint

CD contents

Artist Directory
(archived-no longer maintained)

Resource List
A list of books, publications and websites on Australian Experimental Music
(archived-no longer maintained)

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Ian Andrews and John Blades have both been involved in the creation of electronic and experimental music since the early 1980s. Ian’s projects include Kurt Volentine (1980–85), The Horse He’s Sick (1981–86), Cut with the Kitchen Knife (1983), Target Audience (1987–92), Hypnoblob (1992–97) and Disco Stu (1997–2001), and the groups Battleship Potato (1986–88) and Organarchy/NBP (1992–99). John hosted the experimental music radio program Hot Dog You Bet, and co-founded and performed in the groups The East End Butchers (1980–81), The Loop Quartet (1982), War Meat and the Dictator (1982), Men Like Licorice (1982) and The Loop Orchestra (1982–present).

Sean Bridgeman stumbled upon, and then fell into, the world of new musical instrument building a handful of years ago, quite by accident. A haphazard musician, and an imperceptibly slow builder of instruments, Sean’s most musical beast emerges after a few glasses of wine, only to curl up in slumber by morning. In 2006 he started clatterbox, a little non-profit company devoted to promoting the builders and players of new musical instruments. In 2006 and 2007 clatterbox produced two inspired line-ups of experimental musical instrument builders to play the Great Escape festival, Sydney. Now south of the border, in what some refer to as Mexico, Sean is plotting plans for more gigs, zines, collaborations, side projects, and maybe even a concept album. <>

Sebastian Chan is one half of Sub Bass Snarl (with Luke Dearnley, 1991–present). He has been a tireless event promoter, running Frigid (1996–2006), the Freaky Loops festivals (1996–2001) and establishing Sound Summit in Newcastle (2000) as part of the This Is Not Art festival, as well as presenting several radio programs such as the Paradigm Shift (2SER, 1995–present) and previously on Radio Skid Row (1990–95). He has also written extensively about electronic music and is the publisher of Cyclic Defrost magazine (1998–present). Like most of his generation he works with technology in the culture industry. <>

Bo Daley is an electronic musician and director of the Deluxe Mood Recordings label. He was an early participant in the Sydney Clan Analogue collective, and his music featured on early Clan vinyl releases. He later went on to establish the Canberra branch of the Clan, and also participated in the Melbourne collective for several years. He was the original host of the formative radio show Subsequence on 2XX, and co-hosted electronic music shows on 2SER and 2MBS in Sydney. He has released music on the Clan Analogue Recordings label under the names Critical Frequency (with Syd Dion), Dark Network (with Tim O’Loghlin) and Clone (with Kate Crawford). He is currently based in Sydney. <>

Jim Denley sees no clear distinctions between his roles as instrumentalist, improviser and composer, and an emphasis on spontaneity, site-specific work and collaboration has been central to his work. Collaborations, his radio feature for the ABC, won the Prix Italia in 1989. In 2006 he recorded a new program for the ABC in the Budawang Mountains south-west of Sydney, which is now the CD Through Fire, Crevice and the Hidden Valley. He has performed throughout Europe and North America recording for BBC Radio 3 and Germany’s WDR. In 1990 he was a member of Derek Bailey’s Company for a week of concerts in London. In 1989 he co-founded the electroacoustic text/music group Machine for Making Sense. A new CD of their work has just been released on Rossbin. <>

Cat Hope is a sound artist working with low-frequency sound in performance, installation and composition. She has performed and published around the world as a soloist and as part of noise groups such as Lux Mammoth and Abe Sada, and has showed work in the San Francisco Museum of Modern Art as well as festivals such as ISEA, BEAP and Liquid Architecture. She is coordinator of Composition, Music Technology and Post Graduate Music Studies at the Western Australian Academy of Performing Arts (WAAPA), Edith Cowan University, where she leads the WAAPA Music Research Group, and is completing her PhD in fine art at RMIT in Melbourne. <>

Julian Knowles is a composer/performer working with new and emerging technologies. Since the mid-1980s, he has worked as a solo artist and with the electro-environmental music group Social Interiors. In recent years his music and audiovisual work has been presented at the San Francisco Museum of Modern Art, Experimental Intermedia NYC, the Seoul International Performance Art Festival, What is Music?, Liquid Architecture, Australian Perspecta, and the Melbourne International Film Festival. Julian also has a background in the Australian and UK independent music scenes. He was a member of Australian bands Shrinking Violets and Even As We Speak, with the latter band achieving significant chart success in the UK following radio sessions with the British DJ John Peel. Julian is a professor of music in the Creative Industries faculty at Queensland University of Technology, and a researcher at the Institute of Creative Industries and Innovation.

Virginia Madsen is a radio/sound producer, writer and scholar whose works have been commissioned by the major public broadcasting institutions in Europe and Australia. She has a doctorate of Creative Arts from the University of Technology, Sydney, and was a founding member of the ABC’s audio arts program The Listening Room. In 2002 she was awarded a Vice Chancellor’s Postdoctoral Research Fellowship (University of NSW) to investigate some of radio’s most critically neglected forms. Her research spans sound and radio theory, auditory culture and radio art, with an emphasis on key public broadcasting radio developments. Following research in Europe and Australia, Virginia is writing the first international account of the documentary-feature in radio. Currently she is convenor of Radio in the Department of Media, Macquarie University, and a visiting research fellow at the University of NSW in Sydney.

Shannon O’Neill is an artist, academic and curator based in Sydney. Active since the early 1990s, he makes sound, music, radio, video, text, websites and installations, and has worked with amazing people on many different projects. He was a director of the Electrofringe festival (2001–02) and the Sydney Liquid Architecture festival (2005–07), and is the founder of Alias Frequencies, an organisation that promotes and publishes media art and experimental music. He is currently a lecturer in Media Arts at the University of Technology, Sydney, and is completing a PhD in Music at the University of Wollongong. <>

Gail Priest is a sound artist, writer and curator. She performs electro-improvisation at various events in Sydney and nationally. She is included on several compilations including Melatonin (ROOM40) and has received numerous commissions from ABC Radio. Her debut CD Imaginary Conversations in Reverberant Rooms was released in 2006 on her own label Metal Bitch, and later programmed as part of Transmediale 2007, Berlin. Originally trained in the performing arts, the core of her practice is in sound design for dance and contemporary performance, frequently playing the soundscores live. She also collaborates with video artist Sam James on live audiovisual performance, installations and dance films. She has curated and produced events such as Electrofringe along with exhibitions for Performance Space, Artspace and d/Lux/MediaArts/. She is the associate editor of RealTime/OnScreen magazine. <>

Alistair Riddell is one of the persistent and unusual creative figures in the landscape of Australian computer music. He studied music and computer science at La Trobe University in Melbourne and holds a PhD in composition from Princeton University, where he studied with Paul Lansky and Jim Randall. He was a postdoctoral fellow at La Trobe University (1995–96) and president of the Australasian Computer Music Association (1994–96). He was documented in the 1988 publication 22 Contemporary Australian Composers. Alistair’s digital art activities are wide-ranging, covering computer-controlled instruments, software and hardware development, live collaborative performance, kinetic installation art, sound art research, teaching, writing and travelling. Currently, he lectures in Sound and Installation Art in the School of Art and is a visiting fellow in the College of Engineering and Computer Science at the Australian National University. <>