8pm Tues 19 Aug
$15 Book online or door
WA composer and sound artist Sam Gillies presents his new work commissioned by Tura for guitar & electronics “Snowden”, a work discussing the implications of the metadata surveillance unveiled to the public by Edward Snowden in 2013, performed by Chris Kotchie. Alongside this world premiere performance are sets by lo-fi noise aficionado and Algebra of Need label owner Henry Gillett and the Stockhausen-tinged avant-rock duo Zyklus. Club Zho 110 is set to be a loud and confronting night of startling new music.
Sam Gillies is a West Australian-based composer and sound artist with an interest in the
function of noise in constructing an understanding of music and the world around us. Often treading the line between the musically beautiful and ugly, Sam’s work relies on the use of interactive programming environments to create alternating soundscapes of extreme fragility and overwhelming density.
Sam began his undergraduate studies at UWA in 2005, completing a Bachelor of Arts with a focus on literature, theatre and film making, before formally beginning his study of music at WAAPA in 2008, under the tutelage of Lindsay Vickery and Cat Hope. In 2012 he competed an Honors degree in Composition at WAAPA, achieving first class honors, and in 2014 he will begin a Masters program at Goldsmiths, University of London.
Sam has an active live presence having performed extensively at both a national (Perth, Brisbane, Melbourne, Sydney) and international (Japan – Osaka, Kyoto, Tokyo) level. Recordings of Sam’s music have been broadcast nationally on ABC Classic FM, Perth’s RTRFM 92.1, Brisbane public radio station AZZZ, and Sydney’s FBi radio. His composition Assembly:Dichotomy was broadcast as part of the 2011 Deep Wireless Festival of Radio Art, Toronto, and his works have been featured in several international festivals, including the Totally Huge New Music Festival and the International Computer Music Conference. Sam has also scored over 16 short films, 3 theatre productions, 3 contemporary dance pieces and created 3 sound art installations. Aside from solo performance, Sam also performs in several different collaborative projects, including the piano/laptop duo Cycle~ 440 who have released six albums thus far and received the 2013 WAM Award for Experimental Song of the Year.
In addition to his musical pursuits, Sam has been active in making his own short films, while pursuing an interest in journalism and academia, presenting papers at several music conferences and writing for various music journals including Limelight Magazine, Realtime Magazine and Cyclic Defrost. Sam also co-hosts the Difficult Listening program on public radio station RTRFM 92.1.
Henry Gillett is a Perth based composer, born in Melbourne, Victoria. His current practice consists of found sound and sample based manipulation, both in studio and real time settings. His works explore low fidelity sound degradation as well as sonic interaction between sound objects of varying natures and genetic makeup. A combination of modern software programs and dated musical machines plays a large role in the quality and “finish” to each and every sound layer as well as the arrangement and acoustic properties of works in their entirety.
The musical material draws from elements of film sound, electro-acoustic feedback, music concréte as well as field recordings and spoken dialogue. Analogue feedback system recordings are also integrated into works, allowing greater degrees of timbral freedom and greater spontaneity within processing parameter controls. Through combining all the stated sound elements, a wide range of textural territories are explores, ranging from elongated atonal drone based works to dense, complex sound masses. Henry’s works utilise the “physical” characteristics of found sounds as a basis of their manipulation and integration into works, allowing well known everyday audio objects to be converted into specific musical components
With influence ranging from the carnage of The Birthday Party, the subtlety of OM, the atmospheres of Sigur Ros, and the forms of Karlheinz Stockhausen, Zyklus aim to achieve a distinctly ‘grey’ sound, comprised of harsh dissonance, raw and minimal instrumentation, embedded melody, and often violent gestures, all in the context of rather spacious forms. Lyrically, thematic material can be bleakly evocative, incorporating opaque metaphor, excessive reference to the cheerless “mundane”, as well as displaying a markedly abstract approach to humor and narrative via notably abstract, and often untraceable processes. Lead vocalist, guitarist, pianist and songwriter Drew Woolley has almost completed his degree in Music Composition at UWA. His most recent works have demonstrated a particular fascination with music and text, especially in regard to their equally abstract and “absurd” treatments, resulting in deeply nonfigurative works that portray a certain attraction to chaos, futility and intensity, as heard more accessibly in the works of Zyklus. Percussionist, guitarist, backing vocalist and songwriter Shaun Woof has been active in Perth’s live music scene since his mid teens, having been part of several bands. Woof has of late shown an eagerness for existential themes within his own writings, incorporating further use of nonsense within fairly loose forms and structural schemes, emphasized by his committedly firm approach to non-functional grammar and poetics. His harmonic explorations in particular are significantly dense, presenting a relentless quality, experienced also in his consistently severe percussion work.