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STICKS, STONES & BREAKING BONES - CD / LP (antboy, lespourricords, gaffer, electric junk)

CD - 10 euros - (plus postage) - CD digipack - 1000 copies limited

LP - 12 euros - (plus postage) - 12" 180g / screen printed covers / notes by WG / digital download - 500 copies limited

The hardest thing in the world is to have an original idea.  As much as creative musicians hate to admit, free improv/experimental/underground (and all other useless adjectival identifiers) music now has as many stylistic tropes as your standard 19th century symphony: the endless variations on white noise, the orgiastic free ensemble climaxes, reassuring bass drones, "brutality", all of which point to performance, not playing.  Musicians cling to the next solution that the media spotlights, as if consensus actually ever helped anything in art.

Will Guthrie's music shows that, when its very difficult to know where to look, one can still play, record and perform original music which doesn't rely on stylistic stamps-of-approval.  There is no free-jazz apostille on this record, nor any palapable sense of belonging.  Perhaps this is due to his origins in Australia – the ditch between Europe, the US and Asia into which all culture slides and meshes, greedily absorbed by voracious, outward-looking music nerds.

His path as an award-winning jazz drummer, then grass-roots free-improv organiser (founding Melbourne's still-running Make It Up Club with guitarist Ren Walters), flamenco accompanist, then relocation to France, instigating a passionate engagement with DIY electronics and ongoing organizational activities, ultimately culminated last year in a deep questioning of just what to do in the potentitally uncomfortable position of having insane chops, broad tastes and an open mind.

The improviser attempting the perfect statement is like trying to keep honey on a knife. If it's possible, Will comes close here. This is fearless music: the fruit of a long-standing interrogation with a dark place where most players fear to tread: bullfighting with the musical unconscious.  And maybe was worth it; Guthrie's precision playing reveals cycles of intermeshed timbral/rhythmic relationships, playing to an internal logic that transcends the usual thought patterns of your typical drummer.   Far from slipping into the mindless, episodic meandering that characterizes much free improvisation, extended formal shapes tuned by experiential instinct gives this music a structural integrity uncommon to most solo performance.

We're not limping through any tired timbre/form formulae here, nor are we witnessing a self-glorifying broadcast of athletic prowess in which the speed outruns the thought.  The irregularities are elegantly placed, the raw technique blunted and honed into a resilient break-dance between the spontaneous and pre-conceived.  The continuously elastic temporality transmits a hellish obsession with variation, smashing time together in multiple vertiginous chains of 2s and 3s.

This album is living proof that one can ignore the endless distractions and distortions to concentrate on something truly personal, and it is difficult to tell whether this is a beginning or an end.  I'm relieved it's here – the arrival of the John Cage prepared piano software library is yet another indicator that even specialized, idiosyncratic musical practice can be homogenized.  Intense self-explorations into the language of the individual such as this LP are seemingly on the decline, but here the drums live like they should.

Anthony Pateras -  2012




10 euros - (plus postage)

Schäfer posited Thought Provoking as a radical shift from his brutalist electronic engineering to a spatialized, open-ended composition based on the muffled tones from an ad hoc instrument he built from salvaged church organ pipes and hair dryers. The first presentation of this work took place in his home town of Graz, Austria in 2003; the second was a collaboration with violinist Elisabeth Gmeiner in Vienna two years later; and the third & final performance occurred in 2006 with percussionist Will Guthrie and Gmiener at the St. Andre Church where he first presented it in Graz. After Schäfer's death, Guthrie reconstituted the rehearsal takes from that performance for this recording of Thought Provoking III, attempting to re-imagine the controlled energy of those sessions with Schäfer's aesthetic framework at the forefront. The bellowing hums from Schäfer's organ pipe and hair dryer contraction ebb and flow amidst intermittent percussive flourishes, subtle gong overtones, sustained violin trills, and fizzling electronic mark-making. On the second track of this disc, long-time friend Zbigniew Karkowski presents a smoldering electro-acoustic remix of Thought Provoking III as a fitting tribute to Schäfer.


BIRD DIES - CD (clean feed)

10 euros - (plus postage)

Jean-Luc Guionnet - alto saxophone
Will Guthrie - drums
Clayton Thomas - double bass

Power trios come with various sounds and sizes. THE AMES ROOM may be small but their sound is bold and forceful. This French/Australian trio lays into you like the first time you got beat up as a kid. It's sheer brute force and once you finally give in there is this little blissful nature that sets in. The feeling that this might be all there is left for you. But The Ames Room help you realize there's more inside the noise than you realize.

Blog JazzWrap


FACE OFF - CD (erstwhile)

10 euros - (plus postage)

Erstwhile's debut of percussionist, microphone and electronic artist Will Guthrie in a duo with tape machine Revox and electronic artist Jerome Noetinger ("Hands of Caravaggio") in an interactive "face off" between the two. 
" ... whenever i get bummed out about music in general (usually :: fearing the seemingly consistent march towards rural / "beguiling" simplifications of electronic music, various "returns" to "form", etc ...) there almost always seems to be an erstwhile batch that negates said perceptions & gets me back in the black -  here, you really couldn't ask for a better execution of the "live-concrète" spec, of course with jérôme's real-time revox evocations & will's assorted percussion interventions yielding the sort of mile-a-minute pacing(s) of, say, an ivo malec piece ... yet "played" entirely "l'instant présent" over a couple of sessions in may of 2010 ... incredible stuff." Mimaroglu

all the rest sorted alphabetically:

* 'Thrown' - CD (room40) 10euros
"Abrahams relentless and steady patterning started to metamorphose the nature of the piano, the upper chords sounding like a distant locomotive hoot, and then an accordion weaving in and out of a shimmering bank of flutes."THE WIRE, UK
Chris Abrahams is best known for his work as pianist with the trio The Necks. The Necks have toured extensively and have released eleven albums in their fifteen-year career. Outside of the Necks, Chris has released four solo piano albums - "Walk", "Piano", "Glow", "Streaming" and now his debut on ROOM40 "Thrown". He has also released five albums with Melanie Oxley as well as albums with Stevie Wishart, The Hunting Party, and Artery and the Benders. All up he has produced or co-produced some 24 albums. He has also worked extensively in soundtrack composition for both feature films and documentaries. In 1998, with the Necks, he composed the soundtrack to the feature film "The Boys" and soon after the ABC three part series "In The Mind of The Architect". With Lloyd Swanton he co-wrote the soundtrack to the ABC six part series "A Case For The Coroner". His solo credits include composing the soundtrack for the ABC three part series "Bad Behaviour" and the SBS short feature "Lenny Cahill Shoots Through" .

* 'catchment' - CD (laska records) 10euros
"120 mm of rain in 24 hours resulted in the 2nd of Febuary 2005 being Melbourne's wettest day on record. On that day, I made three field recordings.The first (1pm) is of steady, vertical rain in the backyard, recorded through an open door. The second (5pm) is of rain on the corrugated iron and two fibreglass panels of the garage roof. An overhanging branch also drops it's wet load at times. The third (8pm) is of a large, broken PVC gutter in a covered carpark splattering water onto the hard asphalt below. A further six examples of water used in a controlled and controlling capacity complete this set. 'Basin' & 'Pool' use manual manipulation at opposite ends of the size scale: in one it interrupts a thin stream from a bathroom tap; in the other it propels a swimmer back and forth. 'Hose' & 'Reprise' feature an instrument of 15 inclined thin sheets and three plastic vessels laid out on a lawn and made to sound with water from a garden hose. The other 'hose' track features a 2.2m length of washing machine corrugated hose, miked at each end, as the resonant vessel for sloshing water. Six shaken, partially filled water bottles and water stirred in a bucket constitute the four-track mix of the textural 'Plastic'. 'EPNS' is an edited and mixed assemblage of twelve dessert bowls played in pairs. They are struck and scraped to produce pitches which are then bent by lowering the bowls into a dish of water or lifting them out."Ernie Althoff

* 'Heliosonics' - CD ( NewMusicAustralia) 10euros
A solar powered sound project by Ernie Althoff.
Heliosonics is a collection of 26 (one electronic, and 25 kinetic) percussive sounding devices designed to play in various outdoor spaces. All are powered by solar energy. This CD features 16 tracks on which groupings of the machines are recorded in specific environments.
The sound machines of Heliosonics can be divided into two groups in a number of ways. For instance, their sounding components are either of wood (bamboo or 'manufactured' plywood and dowel) or metal (aluminium or tinplate). A more important division is the grouping of those that sound continuously, and those that sound sporadically (thirteen in each group).
This continuous / sporadic division provides a simple yet effective way to categorise the sounds of the sea, cicada song and traffic hum against a sudden birdcall, the squeaky hinges of an opened gate and a bottle smashed in a back alley. The model for Heliosonics is the sound world of the environment - it is designed to emulate but not imitate. Heliosonics partners the real world - and the real world plays Heliosonics .
70 minute CD, 12 page booklet insert with descriptive texts and colour photographs of the sound machines.

* 'Strange Love' - CD (for4ears) 10euros
"Starting from its lovely cover up to the very last second of music, "Strange love" must be regarded as a perfect concoction of three strong personalities fused into a single body. ... It's an extremely controlled setting where even pops and glitches - by now omnipresent in contemporary electroacoustics - appear with a meaningful purpose instead of being just a randomly thrown ingredient. Everything flows according to plan - if there is one - in an inspiring piece, among the best I've heard by these artists in a long time. ... All things considered, this is a high-standard, worthy recording." M.Ricci, Touching Extremes

* 'Clockwork' - CDR 9 (room40) 8euros
Its initial release - an edition of 100 3" CD-Rs on Ambarchi's Jerker Productions label back in 1999 - let it slide by just enough aesthetic radars to register among cognoscenti. Coupled with Ambarchi's solo work from the era, the recording marked a shift from the gonzo-rock of the duo's previous band, Phlegm. Things happen throughout Clockwork that had never really happened before. Recorded in front of a live audience for that "what we did on our holidays" feel, Avenaim and Ambarchi unravel their detourned instrumental panoply into a series of parallel universe propositions - (ie. If Ambarchi's concurrent vinyl-only Stacte series was Alvin Lucier and Cluster collaborating for Mego, then Clockwork is Mickey Hart's Gamelan Orchestra performing Ionisation.)

* 'Spore' - CD - (cajid) 10euros
Spore is a microscopic investigation of the recorder's anatomy – an interrogation of instrument and performer that comprehensively revolutionizes the language and potential of both. Anderson's playing constitutes a fluid symbiosis of the bodily and the mechanical – saliva, wood, plastic, metal and circuitry combine to create third-ear beats, super-fast electroacoustics and canonic abjection unified by whiplash phraseology, moody texture and bizarre articulations. Drawing on influences from visual artists Hannah Wilke and Cindy Sherman, texts by Adrienne Rich as well as works by Lachenmann, Pisati and Parmegiani, Spore is striking evidence that the end of instrumental exploration is never in sight.

* 'LIVE' - TAPE (Breakdance The Dawn) 5euros

* 'PULLLP01' - LP (pulled out records) 13euros
The Sydney quartet of Anthony Guerra, Matt Earle, Sumugan Sivanesan and Nick Dan summon the evil spirits in this documented live ritual that runs the gamut from Neu! metal pummel to sinecore minimalism. The world seems to collapse as the goddess soma brings white light that strips any tangible object of meaning. Echoing mantras of dark energy channelled outwardly via an omnidirectional spill of force fed feedback.Limited edition of 275 on one sided hot pink vinyl with etching by Rizili. Includes insert print on thick pink card with individually hand numbered silk screened pink on black covers.

* 'Octante' - CDR (l'innomable) 8euros
Ruth Barber? trumpet, Margarida Garcia: electric double bass, Ferran Fages: feedback mixing board, pick ups, Alfredo Costa Monteiro: accordion
recorded, mixed and mastered by ferran conangla, 6th july 2003

* 'salted felt' - CD ( Impermanent recordings 002 ) 10euros
Peter Blamey believes in minimal means: his kit is two little mixers and a single oscillator, wired together into an unstable multiplexed feedback web. What emerges, though, is nothing like the tick-tock trance of much recent "minimalism." It's pulsing, spinning clouds of chirps and cracks, broken up with chunks of blurry oscillator drone and spluttering, twittering noise; and all those elements drawn from a single unstable, tangled mass of signal. Here Blamey delivers nine dense, intricate, just-in-control slices of analog chaos synthesis. Laptops: who needs 'em?

* 'chocolate ice' - CD (poorboy) 10euros
....the title refers to the latest and most feared drug developed by the outcast pharmacists that has hit the streets of the mainland with devastating consequences. a strict and fearsome class structure exists and the drug chocolate ice cuts deep into the upper and middle class youth causing frightful violence and anarchy. the cover photo shows some of the inhabitants of the underground, a place for those that are marginalised from society yet have managed to avoid the viral and toxic guerilla warfare that ebbs and flows on the mainland.

* 'high st....3070' - CD (poorboy) 10euros
the fourth album to be released by bohjass is a personal meditation on urban australian landscapes and relationships. It is the final recording of the band as the long lasting sextet of ned collette, cam mcallister, michael portley, alistair wattes, tim pledger and belinda woods.....together we made some beautiful, some astounding, some tormentuous music, most of which was exciting and spiritual....."high st....3070" celebrates this incarnation of bohjass as we prepare for another round of exploration...

* CDR - (rhcd31) 5euros
"Excellent new compilation that covers alla the main action coming out of the great Australian underground imprint Breakdance The Dawn, most associated with XNoBBQX." - david keenan, volcanic tongue
"I'm not sure I've heard a more necessary anthology this year than this greatest hits barrel scraping from one of Australia's most vital underground labels. Taken en masse this stuff is brilliant, inept, confusing and funny as hell." – daniel spencer, foxy digitalis

* 'l'evenements' - CD (Dr Jim 35) 10euros
Dischord, microtonality, free noise, artifice, high-fat riffs, and horns like jet engines make l'?nements bucketrider's richest and most delightful work yet.

* 'Guignol's Band' - CD (Dr Jim 25) 10euros
The five-piece bucketrider arrives.

*The Adoration of the Lamb - CD (Dr Jim 24) 10euros
bucketrider's origins as a trio... guaranteed to delight cryptographers, full of ciphers to confound. BUCKETRIDER have distinguished themselves as one of the most innovative and challenging contemporary music ensembles in Australia.
Founded nearly a decade ago by David Brown, Sean Baxter and Tim O'Dwyer, the group has been at the forefront of experimental music in Melbourne since its inception.
As adept in the rarefied realms of improvisation and new music as they are with the raw energy of free jazz and punk rock, bucketrider fuse these disparate styles into a coherent and exciting whole. Intent on breaching the artificial boundaries that exist between so-called serious and popular music, they have successfully introduced rock audiences to the energy of free jazz, jazz audiences to the vibrancy of punk, and classical audiences to the delights of contemporary improvisation.

* 'Iland' - CD ( Cajid 007 ) 10euros
Conjuring the audio ghosts of early Penderecki or late period Jani Christou, whislt tackling the microscopic sonic explorations of Rolf Jullus or the lush field recordings of Hildergard Westerkamp, this unique combination of cello and sampler is an intense, exhilerating and unforgettable sonic experience. An uncompromising collision of extended technique, microsonics, studio production and investigative sound, ILAND is a supremely confident release with scant regards to much occurring in music today. File under: Contemporary Brutality!

* 'Candlesnuffer' - CD (DrJim 2) 10euros
Candlesnuffer is David Brown. He has a history in Melbourne that yawns back to the mid-70's and has seen a progression from rock kid with a bass guitar to academically qualified guitar experimenter. His musical gifts have been a virtual secret here due to his lack of a travel bug. However it's time the word got out and at the grand old age of 45 this is his first solo release. He is known best as a member of bucketrider and Lazy, as well as for recorded work with KK Null, and performances with Null, Phill Niblock, Jon Rose, along with an army of local avant-gardists.

* 'allo hickory' - CDR (spanish magic 003) 7euros
have you ever sat out on the porch in spring watching as the skies darken and severe weather rolls in? the subtle changes in air pressure, temperature, and wind direction create a stirring and cathartic atmosphere in which explosions take place. first, there's the jarring presence of brilliant lightning flashes crawling across the sky in the distance. they are the warning bells for the heavy rumbles that follow. the decreasing time between the two is one of the most nautral ways to experience suspense and the build-up of tension. castings exploit this idea, this process on a musical level.
limited to 200 copies.

* 'Slow Twitch' - CD (Dr Jim 34) 10euros
"Tim Catlin has taken the shimmering ephemeral nature of the guitar's indefinite identity and exploded it into a fine mist. The guitar is not a solid entity, its location in the mix not longer governed by a common understanding of how the elements of rock fit together. Free of such constraints, the sound is allowed to evolve and mutate, pulsate, rattle, hum, buzz, crackle, breathe, and resonate of its own accord...."

* 'the air in the sand' - CD (Nature Strip 3004**) 10euros
"For all of the elemental sounds that dominate his recordings, Chasse extracts subtle musical timbres and fragile half-melodies that haunt The Air In The Sand. While some of Chasse's recording techniques remain similar, it is important to note that Chasse sets this body of work (along with id battery and Coelacanth) outside of his ongoing pastoral contributions to the polyphonic Jewelled Antler constellation (e.g. Thuja, The Blithe Sons, Child Readers, and even his pseudonymous solo project Of.) With an emphasis placed upon location and its sonic ghosts, Chasse exposes something profoundly beautiful lurking in the shadows of the landscape." - Jim Haynes, June05

** CJA
* 'Silent Blood' - CDR (PseudoArcana) 8euros
New Full length from Armpits CJA. Even though a recurring theme throughout is a reflection upon the amount of time spent on his PC (the same analogue sound as ever, but the use of digital layering tech adds extra depths to the hum) this disk still has that wonderful lofi droniness, and CJA is as resolutely himself as ever. Includes an epic that threatens to rival the incredible 'headache'. Degradation can be a beautiful thing.

* 'Friction' - CD (room40) 10euros
Friction is the culmination of over a decade of instrument building practice and design. My predominant choice of material is metal. I am attracted to its qualities like a shiny lure that reflects light and filters sound.
Each instrument can take up to three years to design and several weeks to construct. Initially I focussed on percussion and bowing, however recent instruments have employed continuos bowing mechanisms.
Coming from a background of sculpture and later working as a furniture designer, gives me the freedom to imagine wild objects and the discipline to actually produce them. I was never satisfied playing a traditional instrument, yet I had a burning desire to make music. My instruments are like a riddle, which I have solved through my own means.
In my life I have spent much time in nature and I feel this comes out through my music as much as the industrial qualities of metal are apparent. The more intentional aspects of my sound are the open space, or the big sound as other people have put it to me. Most of the tracks are pieces of music composed specifically for each instrument and are just recorded as one take. The instrument is the composition.
Comfort through dissonance.

* 'Landing' - CDR (halftheory06) 8euros
Landing mines a deep vein of music from the fields of 'ambient', but with a definite nod towards the field-recording school. Sourced from a refined blend of field recordings, processed instruments and electronics, these pieces are at first deceptively simple, but closer listening reveals layers of complexity lurking beneath apparently static surfaces. Tim Coster's compositions maintain distinct hints of identifiable sounds which create a genuine sense of space and place.

* 'Mornings' - 3"CDR (PseudoArcana) 5euros
The city of Auckland is rapidly becoming the hub for the more adventurous end of NZs electronic music. It seems as though there's a festival every other week & theres a constant stream of artists and performers hitting the road to share their work.
Tim Coster is a significant figure within this community both as the man behind the CLaudia label (which specialises in field recordings) and through his own compositions and performances. 'Mornings' follows on the heels of the recent 7" released by cmr and uses as its main sound source a series of collaborations with various instrumentalists. These raw recordings have been reworked and crafted into a series of drones and discreet expressive moments that encourage one to follow Coster on a warm but sublime cognitive journey.

* 'Diaspora' - CD (syn005) 12euros
D?re is a Melbourne based artist working in the realms of electroacoustic music and video game production. Diaspora works to combine these interests. Enter through the gates of D?re and one is immediately exposed to a devastating display of kung fu electroacoustics and abrupt changes in velocity. Continue further and one encounters a narrative driven abstract audio environment, complete with textural drones, virtual field recordings and hallucinatory atmospheres. In other words this is game music today - not some nostalgic flashback to C64 and the like. End result is a staggering monster machine music. Legless software tackling the fictions of science.

* 'f i n d i n g s' - CD (splitrec 14) 10euros
These two have been performing together in the Sydney experimental sound scene for a number of years. This year they featured in ABCTV's "Set". Here they present 4 tracks, kept 1-4. Like many genuine inquiries their findings were a surprise to both of them. Peter's work here revolves around probing the innards of ageing audio equipment with their own self-generated feedback, filling the components to saturation point, flooding the otherwise orderly signal paths with puddles of random activity. His role is basically riding that valve between the internal processes and the resulting overflow of sound; spilling from the speakers, but frying in the air.Jim here uses alto sax, but stripped of references to saxophony. He particle-i-zes his sounds, often focussing on 'fibrillations' idiosyncratic to his horn. His sounds are then perceived simultaneously as waves and tiny bits. When tones are employed, they break up into fibrillation or he employs beating vocalized interferences. There are no 'notes' here; no lines.Sometimes in the swarms of sound you can't tell the sax from the electronics. But It's not that they are trying to mimic each other; it's just that each artist is involved in similar investigations, and they mesh their sounds into a seething whole. Recorded early 2006 in Sydney.

* 'Tape and Paint Game' - CDR 9 (Splitrec) 10euros
Joel Stern: laptop + field recordings. JD: alto + field recordings.
'This is a project developed over 2 years. We initially recorded, and then corresponded with our recompositions, recorded again, and recomposed again and again, adding and subtracting. So it feels to us, like a sort of finely honed collective cooking session'.

* 'Distinctions' - CDR6 (splitrec) 10euros
Axel Doerner: trumpet. JD: wind instruments.
Recorded at the ABC studios in Sydney in Feb 04 when Axel was there for the What is Music? Festival. We have worked as an alternative horn section in Lines for 10 years, and have made numerous duo performances. Here we explore many possibilities of a new brass music.

* 'Through Fire, Crevice + the Hidden Valley' - CD - (splitrec) 10euros
"From the 18th of May till the 1st of June 2006, I spent 15 days armed with my sax, camera, audio recorders, food and a solar recharger in the Budawang Mountains, a wilderness area in the Morton National Park, South West of Nowra on the east coast of Australia.
These mountains are full of dramatic and rugged rock formations, caves, crevices and a hidden valley - it's a wonderland of natural acoustics. Presumably people have been making music in these spaces for thousands of years, but it's almost certain sax hasn't been heard there before.
Much of the playing was recorded on two separate devices which were later synched on computer. The results are partly musical performances and partly field recordings - the time/space played the music, as much as the musician, (birds, the weather and a Hercules troop carrier could also claim copyright).
This music poses the question - how are we to behave in the environment in the 21st century?" JD.

* 'A walk in the palm forest with my sax' - miniCDR8 (splitrec) 5euros
JD: Alto sax + recording.
This is a document of a 'performance' and also a field recording. Binaural mikes were attached to my knees and I then walked and played in a Palm forest on the Queensland coast, near Kepple Sands. My mother had recently died and this audio object is my elegy to her.

* 'Creoles' - CDR7 (splitrec) 10euros
Clayton Thomas: Double Bass. JD: Alto sax.
On Creoles I play with one of the foremost exponents of the new generation of Australian improvisers, who has turned the bass into a C21st tool. Music of thick, slow-moving pitch/noise blocks; rich, warm and edgy. Recorded intimately in the UTS studio Sydney in June 05.

* 'Hydration' CDR5 (splitrec) 10euros
JD: alto sax.
Recorded at my place, June 05. A set of meditations on, and using techniques to do with saliva and resulting noises on the sax. "As an introduction to a remarkable talent, this is spot on." Brian Morton, the Wire.

* 'Tibooburra' - CD8 (splitrec) 10euros
JD: flutes, recording + composition. Stevie Wishart: hurdy gurdy, violin, recording and composition.
This Cd was released in 2000 but I still have copies left, and there are things about it that I still like. The remote Sturt National Park and the tiny adjacent town of Tibooburra (place amongst the stones) were the settings for collaboration between JD, Stevie Wishart and Heidrun Lohr (photography). This is the former country of the Maliangapa people, who in an act of genocide in 1936 were forcibly removed from the area by the Aboriginal "Protection" Board. The resonances of this sort of brutality are felt keenly today in Australia's political debates. There are resonances too in the landscape. The desert is alive with sounds, both "natural" and man made.

* 'Vergency' - CD (grob) 10euros
Wild, confused, fissured and fuddled, and always dashing forward-this is how the music of Jim Denley and Martin NG blows against a listener. Denley and NG have been a constant presence in Sydney's small but fine improvisation scene for years.

* 'Gleanings' - CD - (splitrecCD 15 / Half Theory 16) 10euros
Scott Sinclair: guitar, objects, Jim Denley: alto sax, voice
Recorded at the UTS studios in Sydney May 2005 by Inge Olmheim, this duo finds Sinclair (Botborg) and Denley in a sprawling noisy, and much picked over area of activity - the guitar sax duo - but managing to sustain themselves with some overlooked discoveries.

* "Let's Hear It For The Vague Blur' - DVDR + CDR (halftheory05) 12euros
A psychedelic tour de force by Lloyd Barrett & Joe Musgrove, is a 40 minute slow motion freefall down a kaleidoscopic rabbit's hole of almost graspable abstraction. Conceived and composed in multi-channel surround sound, the audio is the air upon which the video floats. This film is an exercise in gleeful, contemplative confusion. All 'identifiable' images in this film exist only in the minds of the viewers - in this case the mind plays tricks on itself because it has no choice.

* Moth music 2003 7euros

* Document 03 * - 2xCDR - 12euros

* '20-21' - CDR (DOCUMENT 00-60) 7euros

* 'Document 3B' - CDR (DOCUMENT) 7euros

* 'In' - CDR (l'innomable) 8euros
all music by Guerra / Earle
recorded in newtown, sydney, december 2003 to may 2004

** ME 231
* 'Document 07' - CDR (DOCUMENT-07) 7euros

* 'cat's ear' - CDR (spanish magic 005) 7euros
'cat's ear' is a beautiful journey through processed buzzing drones, field recordings, inklings of folk guitar and so much more. there has been a flood of brilliant releases by robert through various labels such as foxglove, JYRK, 267-lattajjaa, celebrate psi phenomena, new american folk hero, barl fire, important, outa and now spanish magic. robert records under his own name, egghatcher, and future ears. this mystery man was the founding member of the appliances, part of san francisco's first wave of punk bands in 1979 and he is currently a member of kyrgyz, beautiful friend, infinite article, broken mask, and has released a duo with charalambides tom carter. robert horton is indeed a beautiful friend. limited to 100 copies

* 'Limnology' - CDR (AutumnRecords) 8euros

* 'Happiness will befall' - CD (Cronica022) 10euros
Happiness Will Befall is the latest full-length recording from Australian composer Lawrence English. Collected across four countries over two months, the record bares the marks of shifting surroundings, unfamiliar sound marks and echoed memories from New Zealand, Australia, Singapore and South India.

* 'Transit' - CD (cajid 003CD) 10euros
Lawrence English surveys a variety of radically different sonic environments and sets them against a rich array of textured electronics. Pulling together abstracted fragments from these settings, he creates an impressionistic sound portrait of his movement across Australia, Japan and the UK.

* 'Substation' - CD (room40) 10euros
Over the past 3 years, Robin Fox has developed some of the most powerful live processing tools in Australia through his research with MAXMSP. Clayton Thomas on the other hand has expanded his performance styles, moving between blistering free jazz explosions to introverted and delicate expanded preparations on his 100 year old double bass.

** GERM STUDIES 198 scratches, itches and ailments for Guzheng and DX7
* 2xCD + poster! - (splitrecCD18) 18euros
Chris Abrahams, DX7
Clare Cooper, Guzheng
The unlikely combination of 1980s Japanese synth and 1380's Chinese harp creates an ambiguous and ambitious music. Although stemming from a language borne of contemporary electro-acoustic improvisation Germ Studies approaches the path from a very different angle filled with wonderful, ecstatic and unexpected joys.

* 'Altona Sketches' - CD (room40) 10euros
Altona Sketches was conceived following a lengthy session of prepared piano improvisations delivered in support of a one-man juggling show with Australia? highly regarded contemporary circus troupe Circa. The album splits its sound palette between short and sweet excursions into music boxes and prepared toy piano and lengthier explorations of Griswolds unique prepared piano approaches...

* 'Document 08' - CDR (DOCUMENT-08) 7euros

* 'Empty Kingdoms' - CD (Black Petal) 11euros
known best for his experimental approach to the electric guitar, "empty kingdoms" is anthony's vocal debut, recorded during various fits of depression in London and Sydney between 2003 and 2005.

* 'Scopa Possibilities' - CDR (== 2+++ ==) 11euros
"it reminds me of Samuel Beckett's minimalist fictions such as 'Ping' and 'Imagination Dead Imagine' ", JULIAN COWLEY / THE WIRE
"Try setting fire to your house while playing a Sachiko M solo album simultaneously with early Xenakis electronic music – it might just sound something like this." DAN WARBUTON / PARIS TRANSATLANTIC

* 'nb' - SeedyR (pseudoarcana) 7euros
Australian guitarist Anthony Guerra and US drummer Matthew Nidek caused some major ripples in the Sydney noise scene during Nideks stay in that city. David Keenan put it on the Volcanic Tongue site: "Drums/guitar duo splurge recorded live in Sydney, Australia on 2nd January 2005 that works trashed fuzz and fists of percussion into a post-Vampire Belt tribute to Sound Of Confusion-era Spacemen 3. Fuck."

* 'points alone' - CD (Impermanent recordings 06) 10euros
Points Alone is the debut solo recording by Melbourne, Australia, based musician Arek Gulbenkoglu. The recording consists of five abstract compositions for acoustic and amplified wooden guitar which highlight the visceral sonic possibilities of wood and steel. The recording of Points Alone was carried out with the conception that the listener¹s speakers would be the ultimate instrument themselves and as such this work is focused beyond the guitar itself and beyond the live improvised moment. Points Alone uses space and duration to distort the listener¹s sense of time, the five untitled pieces unfold and recede in a subtle disequilibrium of sound shapes.

* CDR - (rhcd18) 5euros
'76 minutes of next to nothing, very beautiful. I get the feeling they found Taku's "Live in Australia" too in your face, took the idea and toned it down a few notches. Glimmers of the pair's presence arise like reflections of water on a wall, if that much, though I believe it increases a tad toward the end. Otherwise, it's ambient sound including faint traffic and what I think is a distant foghorn. Really enjoyable, imho. Of course, it raises questions like, "What if all recordings went this way?" Mmm...dunno, what if? I admit to being stuck in, ultimately, wanting some variation, but at the very least, coming across something like this (or Taku's release) is extremely refreshing.' Brian Olewnick, just outside

* 'Yr Nicked' - MINI CDR - (Half Theory) 5euros
Yusuke Akai - electric guitar, electronics, voice, Diaji Igarashi - electric guitar, electronics, voice, Scott Sinclair - drums, voice, Joel Stern - trumpet, violin, sonic raygun, voice
"a brutal and strange document recorded live at The Globe in Brisbane, as a soundtrack to the cop show 'the bill'"

* 'More Songs About Factories' - CD (cajid 004CD) 10euros
Debut solo release by sound designer, composer, installation artist and performer, Camilla Hannan. It features 5 abstract works derived from location recordings of industrial sites in Melbourne, Australia.

* 'The System Likes You and Wants to be Your Friend' - CDR (pseudoarcana) 8euros
At long last P.A gets to release an album by one of my very favourite local bands. Bill Wood and friends explore similar territory to Surface of the Earth with results that may be even more sublime. 3 epic tracks that further develop the 1/3 Octave sound.

* 'k mason 1' - CDR (spanish magic 006) 7euros
A reissue of Tasmanian Keith Mason's amazing debut. Treading the fine line between 'art' and 'cunt', keith offers up some demented folk rock that at times is simply too beautiful for words.
limited to 100 copies

* 'First Time Ever I Saw Your Face' - CD ( Quincunx Sound Recordings ) 10euros
Quincunx Sound Recordings' debut release First Time Ever I Saw Your Face is the first widely available recording by Kommando Raumschiff Zitrone (Command Spaceship Lemon), comprising the duo Kai Fagaschinski (clarinet) and Christof Kurzmann (lloopp, devices and clarinet), active participants of the thriving Berlin improvised music scene. Beautifully recorded by Christoph Amann, the fusion and the contrast between Kai's clarinet and Christof's lloopp software (written specifically for live improvising by Klaus Filip) is the focus, with all the sense for the abstract and the sound as such; nevertheless again and again their love for pop music gleams through. The sleeve, designed by Asi F?r, departs from the usual improvised music CD sleeve clich? eschewing the abstract for the beautifully literal. Quincunx Sound Recordings is a new London-based label dedicated to providing excellent music in intriguing packages.

* 'after school activity' - CD (Impermanent recordings 005) 10euros
After School Activity was recorded in Oakland in 2003. The first two recordings come from Mills College, one recorded in a studio the other performed live, but it is the final track that provides the most vivid picture of what was occurring between the two musicians during this time. The third track entitled After School Activity was recorded on Artship where the two access to record anywhere on the vessel they desired, it was the top deck that drew Toshimaru in.

* 'Fluorescent' CD (Dr Jim 30) 10euros
Fluorescent is the first recorded collaboration between Danish electroacoustic improviser Rasmus B Lunding and Australian sound artist Philip Samartzis. It is a culmination of studio-based improvisation and live performance in which environmental recordings, abstracted textures and prepared instrumental gesture converge to create restlessly modulating densities bordered by abrupt transitions. The title reflects the luminosity of the sonic grain resonating over time, radiantly occupying space to highlight the familiar while rendering it strange.

* 'Mosseisly, Mosseisly, Mosseisly' - TAPE (Breakdance The Dawn) 5euros

* 'still photos melting on ice' - TAPE (Breakdance The Dawn) 5euros

* 'Static Tones' - CD (cajid 002CD) 10euros
An intricate, yet unchanging mass of sound comprised of tiny repeating fragments. Although unchanging, the static tones create an illusion of movement and change, with perceptual distortions generated by the listener. Minimalism to its extreme.

* 'scarlet urmine sandstone lady' - CDR (Black Petal) 9euros
just released. the fucked find of the year. primal, bludgeoning vocals, guitar, drumkit and analog synthesiser all played simultaneously, recorded in the Blue Mountains of New South Wales. Muura is Matt Earle, also of Stasis Duo, X-Wave, Your Intestines, The Minerals, Antipan, Tofutron and xNobbqX.

* comp with toshiya tsunoda, joel stern, tarab, lawrence english - CD (Nature Strip 3002) 10euros
In late 2003 Naturestrip invited four artists to submit pieces that would represent their recent work using field recordings. The 'Overland' compilation collects these results and demonstrates the wide range of approaches and techniques used by each artist.

* 'Idle Bones' - CD (syn 018) 12euros
16 tracks from young buck, keen bean, Melbourne lad Francis Plagne. Bedroom explorations of a melodic and destructive nature. Multi-tracked popped chops sing songs you need to hear! Trust us. Please embrace and wrap your friends around the melodic-pop-concrete-machine-improv tunes + non-tunes within.

* 'Ataxia' - CD (syn009) 12euros
Prepared piano, percussion and prepared guitar combine to formulate an impulse-based meta-instrument on this startling debut from Melbourne trio Pateras/Baxter/Brown. Consisting of composer/pianist Anthony Pateras, percussionist Sean Baxter and electroacustic composer/guitarist David Brown, Ataxia (meaning the loss of muscluar co-ordination) explores a distinctive sound world where timbres rebound and melt within an elastic performative framework.

* 'Coagulate' - CD (syn007) 12euros
Utilising a diverse array of approaches and forms, this album presents incredible real-time mutations of acoustic and electronic resources fused by a chaotic and physical improvisational language.

* 'Flux Compendium' - CD (editions mego) 12euros
Flux Compendium sees two of Melbourne's hairiest sons nose dive and writhe in their unique take of sonic totalism, rising out of the muck with their kaleidoscopic best. Far from the lifeless plague of spacebartronica, they execute an electrified real-time homage to some of their favorite obsessions: breakneck pacing, vocal hysterics, blistering textures, bodily functions and dysfunctions. Eschewing their intuitive beginnings in favor of more a concr? punk miniature aesthetic.

* 'Itinerant Labours' - CD - (cajid) 10euros
"The works presently on Itinerant Labours constitute my practical research into the tape based composition techniques of Pierre Henry and Luigi Nono, amongst others. Within each composition there is a complex tapestry of concrete, instrumental, and electronic sounds. Specifically, each piece is a study or commentary on a particular film or films and the accompanying soundtrack. The films were chosen as provide a significant point of intersection between the cloistered world of avant garde and experimental music and the populist world of cinema. Acting as an introduction of such music for many people - the frequently horrific or phantasmagoric nature of the movies inevitably framing peoples' experience of similar music there after. The pieces may be understood as both homage and as hypothetical 'what-ifs' to the solutions and syntheses created in these movies.

* 'spears' - CDR (PseudoArcana) 10euros
The tracks on Spears were recorded in Vienna in late 2004 and are a companion album to the forthcoming 'Yeahnahvienna' (out jan/feb on Soft Abuse).
Spears finds Pumice at his clattery and blissed-out-yet-melancholy best. The album is book-ended by 2 different versions of the droning chord organ (w drums) longplayer classic 'Hulkwind' (a major component of live Pumice shows of late). In-between there are pop songs and other fragile rickety constructions.

* 'Sexual'(live) - CDR (pseudoarcana) 8euros
CDR re-release (with new tracks) of the Stabbies and Rocket cassette. Wonderfully shambolic and 'rocking' tracks from Pumice gigs circa 1998-2002. I couldn't really say that its as good as being there but it comes pretty damn close!

* 'White' - CD (Stabbies & Rockets 2002) 8euros

* 'Unheard Spaces' - CD - (microphonics) 10euros
Unheard Spaces comprises field recordings of Venice conducted over a three-week period in March 2000. The focus of the composition is on the way sound permeates Venice to highlight the specific acoustics that characterize the aural dimension of this labyrinthine city. As one of the most recognizable cities in the world, and the subject of countless artistic works, I was interested to know whether it was possible to portray Venice in new and innovative ways by focusing exclusively on its sonic character. Inspired by Luc Ferrari's Presque Rien (1995/France), as well as Luchino Visconti's Death in Venice (1971/Italy/France), Nicolas Roeg's Don't Look Now (1973/UK/Italy) and Paul Schrader's The Comfort of Strangers (1991/Italy/UK/USA), Unheard Spaces uses narrative to locate the listener within a set of complex sonic interactions resounding within the myriad of passageways, piazzas and canals that constitute the lugubrious city. The composition was originally arranged and mixed in eight-channel surround sound for the La Costruzione del Suono Festival staged in Mestre, Italy in 2004. This CD contains a stereo mix down derived from the eight-channel surround mix.

* 'soft and loud' - CD (microphonics) 10euros
Originally conceived for eight-channel surround sound playback, Soft and Loud is comprised of field recordings made in japan between 1999 and 2001 that were later arranged and mixed in melbourne over a three year period.
The objective of the field recordings was to document a variety of common environments in order to investigate the behaviour of singular events and their relationships to other sounds occupying the Japanese soundscape. Of particular interest is the cohesion with which artificially generated sounds are incorporated within the generally subdued natural acoustic environment.

* 'Wireless_Within' - CD (for4ears) 10euros
"Samartzis's computer-generated textures and abstract electronics fit in wonderfully well with the clicks and chirps of Voice Crack's cracked electronics and M?r's ever-arcane "selected percussion" work. ... this album makes a fine posthumous addition to Voice Crack's body of work and a logical companion to Oystered."
F.Couture, All Music Guide

* 'With Doors Open' - CDR (halftheory02) 8euros
After 3 years of guitar improvisations between Melbourne's Clinton Green (aka Undecisive God) and Brisbane's Scott Sinclair, the result is this varied and rounded collection of guitar works. Guitars are used to create eccentric sounds - jagged duelling improvisation; soft melodic drones; all out guitar noise skronk! Hours of improvisations have been distilled and remixed to comprise this wildly diverse record.

* 'It Would Have Lived Here' - CD (syn006) 12euros
Snawklor is a project that reorders the sonic environments of D. Krasevac and N. Gray. They create compositions exploring ideas of space and personal location by processing and re-ordering recordings of their sonic environments. Their compositions not only use the sounds around them but also mimic their perceived structures, layering them via a mixture of order and automated indeterminacy.

* 'Instance' - CD (cajid 005CD) 10euros
"her sound is like sand - seemingly one mass, on colour, but actually made of thousands of particles constantly shifting to form new temporal landscapes ... her work is immersive and her acute control of dynamics, like hitting turbulence, creates not ust dramatic tension but also an useasy sensation of loss." Gail Priest - Real Time

* 'INTIMACY'- CD (cajid CD001) 8euros
From sound on the threshold of perception to rupturing bursts of noise, these manipulated and sculpted environmental recordings hint at an evocative and emotional narrative. A continuous track in 6 movements: violation, withdrawal, mistrust, discomfort, repulsion, expectation. total duration 25:52.
"beautiful and intelligent waves of manipulated, layered and digitalized sound particles with fluctuating sound levels." Paul Bijlsma - Phosphor Magazine

* 't's over, we don't care' - CD (spanish magic 004) 10euros
"it's over, we don't care" is a compilation of 12 australian artists. contributors include the likes of rand & holland, hiss, the garbage & the flowers, north atlantic, castings, ii, hi god people, pimmon, brothers of the occult sisterhood, keith mason, htrk, peter blamey & anthony guerra. limited to 500 copies.

* CD - (splitrecCD 17) 10euros
In late 2006 Splinter recorded at studio 301 in Sydney a new set of improvisations and procedural compositions, brilliantly recorded by Richard Belkner.
Chris Abrahams - piano + hammond. Robbie Avenaim - percussion. Shannon O'Neill - synth. Milica Stefanovic - electric bass. Peter Farrar - alto sax. Abel Cross - electric bass. Mike Majkowski - double bass. Gerard Crewdson - trombone. Dale Gorfinkel - vibraphone. Ben Byrne - laptop. Finn Ryan - percussion. Simon Ferenci - trumpet. Jim Denley - flutes and flax. Dan Whiting - laptop. Alex Masso - percussion. Karen Booth - alsto sax. Monika Brooks - accordian. Darren Moore - percussion. Rory Brown - double bass. Clayton Thomas - double bass. Cass McGlynn - tenor horn. Clare Cooper - guzheng. Mathew Ottignon - clarinet and flute. Lloyd Honeybrook - alto sax. Ian Pieterse - baritone sax.

** STASIS DUO ( Adam Sussmann and Matthew Earle )
* 'hammer & tongs' - CD (Impermanent recordings 001) 10euros
In their live improvisations Adam Sussmann and Matthew Earle take metaphorical tongs to the emptied-out insides of samplers, twisting sinewaves into thin, piercing sheets and disintegrating clusters. This set skirts around the periphery of hearing, tense atmospheres stretched between high whines and low power hums. This isn't blank tinnitus sinecore, though, it's a subtler construction of delicate broken gestures, twitches, flecks, gently stretched noisebursts and the occasional placid, glassy bleep which has somehow slipped through intact.


* 'Whitenoise & Burnouts' - CDR (document) 7euros

* 'Whitenoise & Burnouts' - TAPE (Breakdance The Dawn) 5euros

* 'Music 2' - TAPE (Breakdance The Dawn) 5euros

* 'Outdoor bowers' - CDR (PseudoArcana) 8euros
Australians Joel Stern (field recordings, manipulated objects and electronics) and Anthony Guerra (guitar and electronics) return with another example of their articulate hum and crackle and drone. Although recorded in London there is something recognisably Australian about the sounds on this disk. With its feral bird calls and dry twiggy rustles it somehow evokes the Aussie bush under an endless blue sky.

* 'Surfacedrift' - CD (Nature Strip 3001) 10euros
Naturestrip is very proud to present surfacedrift, the debut cd from Melbourne sound artist tarab (Eamon Sprod). Constructed from field recordings and improvisations, using natural and artificial sources combined to form richly layered sonic environments.Capturing the subtle detail of decay appearing from within the heavy atmospheres of a larger space, surfacedrift explores the simultaneous layering of interior and exterior, solid and liquid. The four pieces evolve with an intuitive logic, drifting through literal material evocations of place...

* 'Whisky Mute Down' - CD (PseudoArcana) 10euros
Nether Dawn is arguably Milton's take on free noise, though it feels less abstract (and off-putting) than the likes of Handful of Dust and Flies Inside the Sun, utilizing instead a warm, broken drone not unlike 'Wreck Small Speakers on Expensive Stereos" (Ajax); that is to say, this is a more mellow, intimate drone experience for one and guest". Slow motion atmospheric improvised electric drone 'blues' recorded after midnight in the midst of winter. Electronics and field recordings (of rain swept streets) mix with 'gestural' instrumentation and amp rumble. Evening music.

* 'Scenery of Decalcomania' - CD (Nature Strip 3003) 10euros
Naturestrip is proud to present the stunning new release by Japanese Sound artist, Toshiya Tsunoda. This is Tsunoda's first solo release on Naturestrip having contributed to the Overland compilation (NS3002). Tsunoda offers us over 64 minutes of pure sonic pleasure. The 7 tracks span over a decade's worth of sound exploration and showcase Tsunoda's talents.

* 'PULLLP07' - LP (pulled out records) 13euros
Taking their name from Meat & Livestock Australia propaganda the Melbourne based duo of Ein and Aus transgress a spiritual reality in which grindcore is subverted towards a path of procratinat-obliteration. 46 cranial fracturing songs featuring wailing banshee vocals, a drum machine set to over 300bpm and a possesed 20th century shredder guitarist. On stage, the couple use chainsaws, exploding corpses, and other visual devices to communicate their ideas about domestic violence and civil disobedience. UnAustralians truly represent the extremely brutal end of improvised music in Australia.Limited edition of 300 on clear red vinyl. Comes with a bonus DVD or video download (customers outside Australia) of live performances.

* 'on the edges of silience' - CD (NewMarket) 8euros
"Kris Wanders, one of the most powerful tenor saxophonists to ever breathe air through the horn, was at the birth of European Improvised Music in the 1960's. A member of the seminal Globe Unity Orchestra his collaborators of the time included Peter Brotzmann, Louis Moholo and Fred van Hove, Alexander von Schlippenbach etc..."

* 'Glacial Erratic' - CD (Dr Jim 33) 10euros
Western Grey is a trio of severity and icy minimalism. The members include Melbourne sound artist Philip Samartzis and the revolutionary artists from Lazy, Sean Baxter and David Brown. The recording has been made via a process utilising found drumbeats, fresh-recorded electronic sound and guitar improvisations, and mixed using a subtractive process to create an electroacoustic album of extreme minimalist tension.

* 'Yellow Horizon' - CD (PseudoArcana) 10euros
New Zealand guitarist and sound-artist Peter Wrights back catalogue stretches to something like 30 releases over the last dozen years. This CD finds him relocated to dirty old London town from where he has written a series of love-drones to the wild South Island of his homeland.


* 'Live at Toyland' - TAPE (Breakdance The Dawn) 5euros

* 'Spitroast sessions' - TAPE (Breakdance The Dawn) 5euros

* 'LIVE' - TAPE (Breakdance The Dawn) 5euros