Prophets – Ah!Puch!, Bird Brain, Groovy G, Heaps Mad, Shazzam, Viz a V, Ctrl+Alt+Man & Pug – are the of originators of the Stylefree Movement. The best dressed and grooviest street band in Sydney & Melbourne, Australia! Playing raw grooves with multiple saxes, drums, percussion, balafons, melodicas, guitars, xylophones, MPCs, basses, masks and wonderment!

Prophets live & work in Sydney & Melbourne, Australia and also run Workshops; Participatory, hands-on inter-disciplinary events that combine music, art, design and performance through activities such as mask-making, instrument building and music-making

http://www.prophetsband.com

contact – prophets@ahpuchrecords.com.au

Eastmint’s latest release comes from a duo that approaches their output in a similar vein. Crush Crush is the creative tandem of Evelyn Ida Morris and multi-disciplinary artist Aviva Endean, and their self-titled album is another masterful display of experimental music that leaks through categorical confines.

The record is an exploration of the sounds that can be created using a limited collection of tools, namely Aviva’s clarinet and bass clarinet, which has been expounded upon by Evelyn’s multi-instrumental and production input. What has resulted is something that has transcended limitations despite a conscious implementation of limiting factors. From basic sketches of ideas and skeletal arrangements of bent noise, Crush Crush has built a striking package of work that is filled with life and imagination. Primitive rhythms have been pieced together from disparate parts (see: the opening moments of ‘Shovel And A Cabelcar’ for an example), providing solid footing for Evelyn and Aviva to build upon.

Although relying on a concise array of sounds to work with, Crush Crush has brought forth a lush release that is full of life. Tranquil in parts and dissonant in others, the sway of each movement evokes the untameable character of nature – as if a new gust of wind will send the music in a different direction. This is the sound of two artists pushing their own boundaries and creating something that defies most, if not all, conventions and is a charmingly oblique audio companion for one’s own travels.

Released by Eastmint
Review on Weirdo Wasteland 

Anna Joy Gordon– Baritone Saxophone
Aviva Endean– Bass Clarinet
Justin Marshall– Drums and production
Recorded by Justin Marshall
Mastered by Naomune Anzai

Released December 6, 2017

Notably, pauses in this work are always shared: two or more players may become linked for a moment in the act of together becoming listeners. Dafeldecker’s work creates an architecture of relationships, the sonority of which is otherwise left open, filled in by the ensemble themselves.

Quiver do this in a manner that is subdued, yet rich and intense. The palette of sounds often draws from the familiar—subtle arpeggiations and melodic figures from Garsden & Heilbron’s guitar & bass harmonics, or Schack-Arnott’s vibraphone & bells. But the strangeness of their sound-world comes to the forefront with Heenan’s snarling contrabass clarinet, or the whistling multiphonics of Endean and Lane. Occasionally timbres overlap and intersect, and their source becomes unclear and mystifying. Among the most striking moments are at the extremes of range: particularly Lane’s still, low flute tones, gently resting under the ensemble & barely noticeable, or the digital-sounding, crackling high tones from the percussion. But the group’s sensitivity ensures that, despite such a diverse range of sounds, the interesting forms & symmetries in Dafeldecker’s score can be clearly heard by the attentive listener. 

released June 27, 2017

Composed, mixed & mastered by Werner Dafeldecker (2004).
www.dafeldecker.net/works/scores/small-worlds.html

Recorded in Berlin in 2014 at Studio Boerne 45.

In June 2014 Quiver new music ensemble undertook a month long residency in Berlin with the generous support of the Elizabeth Murdoch Travelling Scholarship. You can now listen to some recordings from that time on Compost & Height.  

The music defies easy categorisation, but has been described as “Kurt Weillish, Euro-Cabaret jazz colliding with lullabies constructed to tear your heart out.” It is transformative concert music that is nuanced and theatrical, with Zulya’s smoldering vocals supported and enriched by accordion, piano, clarinets, guitar, double bass and percussion.The limited edition CD is released as a larger format hard cover story book with stunning illustrations by Dilka Bear.

Engineered, mixed and produced by Myles Mumford at Audrey Studio and Bakehouse Studio, Melbourne
Mastered by Adam Dempsey at Deluxe Mastering, Melbourne
Artwork by Dilka Bear, www.etsy.com/shop/Dilkabear
Design by Luke Fraser
www.zulyaandthechildrenoftheunderground.com

” A reverential reception for … Miss Zulya Kamalova and her phenomenally talented Children Of The Underground. From the first beat of the opening song we are willingly transported to another realm; a scene from an Emir Kusturica film, a basement cafe in Moscow circa 1955, a circus band playing the funeral of the fallen trapeze artist, even Berlin between the wars. So consumed with the songs is Zulya that she enacts them in a mesmerising way you thought only dead singers filmed in black and white could do with any authenticity. But here, in Melbourne, it happens.” Interviews and Gig Reviews.

Zulya and The Children of the Underground perform exquisite original music inspired by Zulya’s Tatar and Russian roots. The music defies being labeled, but has been described as “Kurt Weillish, Euro-Cabaret jazz colliding with lullabies constructed to tear your heart out.” Ten years, three albums, one ARIA award and two ARIA nominations, the ensemble is placed firmly at the crossroads of restlessness and the sublime. The result: a transformative concert music that is haunting and nuanced, with Zulya’s smouldering vocals supported and enriched by accordion, trumpet, guitar, double bass and percussion.

Since their formation in 2003, Zulya and The Children of the Underground have enjoyed unprecedented success throughout their native Australia and abroad. They have toured Europe on numerous occasions –  their latest (2013) appearance included the first inaugural  Russian Womad, along with a National live to air broadcast at Vienna’s Radiokulturhaus, Austria.  CD releases have held top 10 rankings in the European world music charts – a first for any Australian act. In 2010 the group embarked on a six week national tour – extending to all major cities and regional areas across the country. They have been featured repeatedly on national radio and television including live broadcasts on ABC’s Radio National Music Show and Music Deli.

Australian performances have extended to all major venues:  Sydney Opera House,  Angel Place (NSW), The Basement (NSW), Melbourne Recital Centre (VIC), Iwaki Auditorium (VIC) and festivals: National (ACT), Port Fairy (VIC),  Woodford (QLD), WOMADELAIDE (SA), Ten Days On The Island (TAS), Brisbane Biennial (QLD), Apollo Bay Music Festival (VIC), Kulcha (WA) and numerous others.

In Europe they have performed at festivals and venues throughout: Russia, Germany, Luxembourg, Finland and Switzerland.

The record reflects on the world-wide travel the band has enjoyed but also the tyranny of distance and loss. It reflects the tiny tragedies faced by traveling artists: Break ins, Break ups, break outs and break downs. Deaths and gifts wrapping, tolls and tuberculosis and maybe no ones listening or maybe you have the whole world on the edge of its seat . These are their stories, told in old and new conventions, music from the past for the future. We move through sound and light, and fall into the mouths of hungry giants.

released September 20, 2013

Recorded and mixed by Matt Voigt at Sing Sing Recording Studios Melbourne, Australia mattvoigtproductions.wordpress.com
Mastered by Steve Smart at Studios 301 Sydney, Australia www.studios301.com
Artwork and layout by Sean Wyers reverbia.blogspot.com

It was the winter of 2007 and what had started as a “joke” between a handful of down and out Melbourne musos, quickly spiralled out of control into the musical juggernaut known as, The Barons of Tang! Initially rehearsing in a well-known Melbourne squat, The Barons cut their teeth with performances for local underground theatre and circus troupes. With a taste for travel and chaos, the Barons of Tang embarked on 6 years of merciless touring, leaving a trail of battered and bruised dance floors in their wake.

Lashing Tango, Rockabilly, Metal and Gypsy feels together with hard hitting guitar riffs, double kick blast beats and massive horn arrangements, The Barons of Tang serve up their self described ‘Gypsy Death-core’. The catchy tunes and punk ethos all tie together to mean one thing, dancing is inevitable!

Their album “Into the Mouths of Hungry Giants” released September 2013 is available here