With precision, Puce Mary binds the listener in webs of sharp synthesizers, hammering percussion, obtuse voices, field recordings, and blistering noise.

As Puce Mary, the Danish artist Frederikke Hoffmeier tests the established limits of noise music through sustained experimentation and risk driven by emotive gusto. The Puce Mary discography is a form of performance itself, articulated in the vernacular of underground music.
Puce Mary’s music is harsh, but its aggression is necessary. Her performances are easy to be dragged into but brutally hard to get out of. The underhand of control as censurable nurture—this dialectic is a perennial tonic in sound. Dominance against submission. Artist against audience. Both take turns dealing blows.
This is Puce Mary’s first visit to Australia and New Zealand. Crucially, it follows the release of her acclaimed LP The Spiral on Copenhagen’s Posh Isolation.

Puce Mary

Tralala Blip are an Australian unit of differently-abled musicians hailing from the Northern Rivers of New South Wales. Over the past decade they have carved out a unique position in the Australian electronic music community. 

Working to overcome a range of challenges imposed by their disabilities, Tralala Blip have created a range of approaches to instruments, performance and composition that allows them to seamlessly create music together. Beyond their extensive performance commitments, they have presented their work as special guests of TEDx, have had a stage production (My Radio Heart) created about them and have instigated many workshops for other differently abled musicians and artists

Tralala Blip are an Australian unit of differently-abled musicians hailing from the Northern Rivers of New South Wales. Over the past decade they have carved out a unique position in the Australian electronic music community. 

Tralala Blip

For me, music never exists alone; a composer must always deal with interrelationships.

Berlin-based composer Johannes Kreidler works in the mode of ‘expanded composition’. His compositions, while musical, are not about music – but rather the systems, economies, and regimes of value that structure music’s place in our world. Pursuing this music/not music approach Kreidler has become a leading figure in ‘conceptualism’, an approach at the intersection of composition and conceptual art.

Johannes Kreidler

toying with a listener's sense of expectation and disquiet

Thembi Soddell is a sound artist and researcher known for their powerful acousmatic performances and installations of “startling, even hallucinatory, intensity” (New Zealand Listener 2012). Their primary tool is the sampler, transforming recorded sounds into abstract and disquieting sonic provocations. Drawing upon their own lived experiences of depression, anxiety, disability and trauma, their uncompromising artistic voice reveals “just how personal laptop music can be” (Resonate Magazine 2014). Thembi is a non-binary Polish-Australian/settler-colonial living on Djadjawurrung Country. \* \[website]\(http://thembisoddell.com)

Thembi Soddell is a sound artist and researcher known for their powerful acousmatic performances and installations of “startling, even hallucinatory, intensity” (New Zealand Listener 2012).

Thembi Soddell

a tension and a balance between a sense (that one listens to) and a truth (that one understands)

FRI 26 August 2016
Puce Mary (Denmark) Precision industrial noise music from Copenhagen’s underground scene. Tralala Blip (Lismore) Narrative driven electronic song-poems from the mean-streets of Lismore.

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SAT 27 August 2016
Johannes Kreidler (Germany) Conceptual ‘music’ and ‘non-music’ from Berlin. We are Duchampians. Thembi Soddell (Clunes) Psychoanalytic acoustics and the sound of bad dreams.


Li(quid)stening
Architecture

Listening at the Edge of a Knife

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Listening at the Edge of a Knife

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