Ex Machina

GreyWing Ensemble
7:30pm Wed 14 Nov
Old Custom’s House, Fremantle
$20/$10/$5 Tickets from Eventbrite

West Australian ensemble GreyWing present six works where the machine is front and centre. Ex Machina explores music made from, and inspired by, machines and the mechanical.

Kirsten Smith | flutes
Lindsay Vickery | clarinet/saxophone
Melanie Robinson | cello
Jameson Feakes | guitar
Catherine Ashley | harp

Russolo’s The Art of Noises (1913) proclaimed “we get infinitely more pleasure imagining combinations of the sounds of trolleys, autos and other vehicles, and loud crowds, than listening once more, for instance, to the heroic or pastoral symphonies”. Ex Machina explores music made from, and inspired by, machines and the mechanical. Works include pioneer in the field Robert Erickson, contemporary Europeans, James Saunders, Peter Ablinger, Joanna Bailie and new works by Camilla Hannan, Lindsay Vickery and Dane Yates.

Ex Machina deals with juxtapositions and parallels between the musically organic and assertive electronic gestures; creating something with an importance on focus dealing with ethereal yet organic sound.

Image by Alex Wells


Robert Erickson                                     Nine and a Half for Henry (and Wilbur and Orville)
Joanna Bailie                                         Trains Australian premiere
Dane Yates                                            Vinosity world premiere
James Saunders                                    instruments with recordings Australian premiere
Camilla Hannan/Lindsay Vickery           Telescope Turbine World premiere
Peter Ablinger                                        Book of Returns Australian premiere

Robert Erickson’s ode to industrialization Nine and a Half for Henry (and Wilbur and Orville) recorded in refineries, on a freeway and up a carillon tower. Book of Returns by Peter Ablinger a modular work containing solo-pieces, solo-electronics, a cassette player, a single note or a scale, a performative situation, experiments with microphones, field recordings, picture projection, and occasionally, “ensemble situations”. Joanna Bailie’s Trains, in which the cellist moves between traditionally-notated melodies and material exploring locomotive sounds. James Saunders’ instruments with recordings, a subtle work, pairing acoustic instruments and electro-mechanical recordings. Vinosity, in which Dane Yate explores Australia’s reputation as a “drinking machine” via teenage drinking stats and sampled “Goon Bags” and Sound Artist Camilla Hannan and Lindsay Vickery collaborate on Telescope Turbine bridging Hannan’s field recording of the mechanics of astronomy with acoustic instruments.


“GreyWing Ensemble is known for presenting works with pointed social commentary, and though none of the pieces was overt in this regard, by performing works of non- European composers, championing female artists and commissioning new music from Western Australian composers, their bold programming is a positive shift in the Perth concert scene.” (Cool Perth Nights)

GreyWing focuses on new australian music and environmental music and has presented over 30 premieres since their debut performance in April 2016. An important thematic strand in the GreyWing concerts is music featuring field recordings, images and other data from nature and the environment. Earlier this year GreyWIng released two albums on the local label Tone List reflecting these two aspects of their work Lines of Flight and nature forms i. In July GreyWIng together with Breaking Waves and Gerygone launched a monthly site-specific project Limited Hangout: in the field featuring works by local composers responding to and performed in specific the sonic/physical environments.