Repenting For Murdering Instruments (Mix for Finig 18-08-09)

As we’ve been known to do for each other for many years now, I’ve made a new installment in the long-running series of mixtapes traded between herr Finig and myself. Seeing as we haven’t seen each other in a while and have slowed down on the whole process, this disc is a catchup of many different songs that have meant many different things to me over the course of my stay here in Melbourne, and also some songs that I fear Finig might actually dig.


01. The Notorious B.I.G. – Ready To Die
02. Danger Mouse & Sparklehorse – Dark Night Of The Soul (ft. David Lynch)
03. GREYMACHINE – Vultures Descend
04. Danger Mouse – Lucifer 9
05. Eminem – Infinite
06. Jaco Pastorius – Come On, Come Over (ft. Sam & Dave)
07. Parliament – If It Don’t Fit (Don’t Force It)
08. Jakob – Safety In Numbers
09. Devin Townsend Project – Terminal
10. Scarface – I Seen A Man Die
11. One Day As A Lion – If You Fear Dying
12. Beastie Boys – Rock Hard
13. The Jesus Lizard – Monkey Trick
14. Torche – In Return
15. Burial – Spaceape (ft. Spaceape)
16. Lazytown – Cooking By The Book (Lil Bigger Remix) (ft. Lil Jon)



Mick Harris is the entire reason I’m on Myspace. And yes, I chose to capitalise the letter M in Myspace. Your husband’s mother fucked your brother.





Transmissions – The Smoking Man

New track on mah myspace, recorded this eve. Have discovered my computer no longer creates its’ own feedback like it used to, so I have to create it now by leaving mics just close enough to the speakers.

Bit of a new bio on the site too, trying to make the point that while I may not make especially technical music, what I try to do with every piece I create is have something in it that might make you think of something else, make you sit and listen to what your head is saying in whatever space you’re in.

Or something like that, I don’t know, I just don’t want to over-complicate things.

Here’s a new picture of an old man smoking. The idea is that they tell me stories, don’t know if you’re picking up on that.

goofbang launch = success!

On Wednesday myself and our web admin Taran successfully launched the website and first issue of ‘goofbang’, the digital zine for artists around Australia and the world. After launching a fairly lacklustre and ugly blogspot account (the current holder of this blog), Taran offered me some space on his mail server and set me up with a hosting site at, and we then spent two weeks building the site, laying it out and fixing all the things that werewrong with the zine when it was prematurely published the week before.

We’ve now got a wonderfully functional, good-looking yet simple site that makes a great home for goofbang. Check it at:

Relational Aesthetics

As I dove into the internet to find answers as to what Relational Aesthetics are (for weekly readings in CFI at school), I browsed the wiki page which wound up confusing me. From what I gathered, solely from the wiki page, Relational Aesthetics is a book by Nicolas Bourriaud about the modern art movement he has entitled ‘Relational Art‘; a practice that presents art as a representation of the entirety of human relations as a whole, rather than having an individual focus point in other forms of art. The only thing I can relate this to personally is the idea of a flash mob, in which a group of people gather together through their phones to perform a surprise dance or choreographed move that is viewed by a large number of people. Bourriaud says that

‘the audience is viewed more as community. Rather than the artwork being an encounter between a viewer and an object, relational art produces intersubjective encounters. Through these encounters, meaning is elaborated collectively, rather than in the space of individual consumption.’

…and I’m still confused. It seems to be a very hard thing to pin down, just exactly what Relational Art is, or does. Further internetting led to me to take a peek at some more links, which led to a documentary about Relational Art, done by Ben Lewis for BBC4. The site which hosts the video, UBUWeb, has a screenshot in the left corner of their website from Un Chien Andalou, which I thought was a nice piece of synchronicity to my earlier post.

Upon watching the documentary, the idea and concepts of relational aesthetics in art became more clear. Like all art movements, there are are many different levels that relational art can operate on, like dealing with the interactivity of the art, the functionality and usefulness of the art, and how ‘relative’ it is to a group of people or, to a lesser extent, the individual. It still, however, seems elusive, unable to completely describe itself, to summarize and get back to me with a solid idea of what it is, exactly, which is not a bad thing. I feel it’s just a symptom of youth of the movement, something all types of art must go through at some point.

A few quotes popped up during the documentary that caught my attention, the first being an excerpt from the short film about the concepts of relational-like art and its’ practice, Vicinato II.

‘My nightmare, is walking through the woods in the snow, surrounded by people pointing out how nice it is to be walking through the woods in the snow, with other people pointing out how nice it is to be walking through the woods in the snow….’

The meaning is unclear in the doco, but from what I can garner from the very brief discussion about it is that things like forests and nature have been preserved and protected to a point where its very safe and harmless, cleaned and sterilized (in the eyes of these particular artists). The nightmare comes from the other people feeling the need to bring attention to the fact that they are walking through the woods, which is nice, which denotes to the derisive artists that these people are not thinking, not challenging, not progressing. A very cutthroat ideal, in my book, but interesting nonetheless.

The second quote is

‘When you feel good, you are more willing to speculate and less willing to plan.’

This quote fits in interestingly with the previous one, alluding to the point that if people feel good, comfortable, relaxed in their surroundings, they are less likely to realize the trappings they are falling under and less likely to work out a way out of it. It follows a very left wing, anti-capitalist ideal of subversion and thinking for yourself.

As for Nicolas Bourriaud, I feel that the banner that he is trying to drape over these modern relational artists is a good one, but seeing as it is still so early in the life of this alleged art ‘movement”, it would be difficult, also a little preemptive, to try to label artists as falling into the very broad category of relational art. Who knows, someone may come along in five years and come up with a better term to describe it.

Some names to check out if you want to read some more; Vanessa Beecroft, Phillipe Parreno, Rikrit Tiravanija

A piece by Rikrit Tiravanija, dirty dishes from a meal cooked at an exhibition of his work.

Tonight, we dine in….

This evening I viewed Un Chien Andalou by Luis Bunuel and Salvador Dali, which raised a topic which has preyed on my mind a lot lately, that of overt sexuality and the presence of sex in art and how that makes me feel.

Before just recently, I would often become confused and uncomfortable when viewing sex on screen. I believe that feeling comes from a sort of repression in my own feelings towards sex, and a lack of understanding about how to interpret and process an act of sex in a piece of art, when I’m usually, and honestly, only used to seeing it in pornography. When a man would become lecherous towards a woman in cinematic movie, I would immediately dismiss the character as flawed and under-developed, a somewhat backwards human being. The adaption of my view came from a documentary entitled Not Quite Hollywood, an exploration of Australian cinema throughout the 1970’s and 1980’s. What became apparent and what is discussed at length during the film was that what I would consider a b or c -grade film, men chasing after women and objectifying them, was seen as being the norm in the early 70’s, even widely accepted enough to give the Australian film industry its first big boom throughout its’ tenure on Australian cinema screens. This shocked me, that such rampant sexual innuendo and behavior was so accepted that couples would flock to drive-in cinemas in droves to watch men and women have sex and behave in an overtly sexual way to each other on screen with hundreds of people around them. Nowadays these sorts of film are resigned to the strict arthouse market or pornography, which strikes me to ask why this sort of thing isn’t popular anymore.

Clearly the rise of women’s liberation and the entire 60’s rebellion played a huge part in reducing the amount of objectification of women that was seen on screen. In the movie Rebecca Gilling, a well-known Australian actress, mentions that in a review of a film she appeared in, the critic was more concerned with the condition of her breasts then they were with her acting, which seemed to become the norm throughout the 70’s in films such as Barry McKenzie, Alvin Purple, Stork and Felicity. However, the documentary also points out that a lot of the more reputable film critics (Ron Saw, Bob Ellis) in Australia loathed the industry that had formed around the sorts of films, and the filmmakers who shared their view were responsible for making more well regarded classics of Australian cinema like Picnic At Hanging Rock, Breaker Morant and My Brilliant Career. However no-one ever stops short of praising the films for laying the groundwork to the successful industry we have here today.

I guess my point is that I previously had no real understanding of the clear fact that overtly open and transparent sexuality was so commonplace in the 70’s, and really holds weight as a very large part of Australian culture, something that I feel is being repressed nowadays with such bizarre censorship laws. The doco illustrates that our censorship laws now are almost as archaic as they were in the 60’s, and I find it so strange that films that were made 30-40 years ago had looser restrictions on them than films being made now. I ponder whether that’s a result of the public’s perception/repression of how we see ourselves or whether its being held back by the industry for specific reasons. I feel that these films were nothing more than self-expression, however chauvinist and backwards they were in their views towards women, which was nothing more than a sign of the times.

To reign it all back in to my own understandings, I was prompted to write about this after viewing Un Chien Andalou, a film which has just reached its 80th anniversary. Bunuel and Dali do very little to structure this film in any way, the thematic structure coming more from their own dreams than from any preconceived notion of linear story-telling. The lecherous ‘lover’ character is seen lusting after the ‘wife’ character in the film, with open shots of her breasts and clear references to the vagina throughout the film. I understand very little about French film in general, but I do understand that they have always been more relaxed towards depictions of sex and genitalia on screen. I guess, from my point of view, this is just an outburst thats stems from coming across something which I did not realize was so apparent in the history of art before, but the more I think about it, the more it makes sense for artists to take out their own sexual repressions and desires through their art, and the more I realize how prevalent it is. It prevents the artists from becoming the lecherous characters that they depict so vividly in their films and helps the audience to maybe be more at peace with their own sexuality. It’s has certainly made me think of ways to introduce it into my own art, and to relax a bit more about the entire topic.

I wanna be Jackie Onnasis, I wanna wear a pair of dark sunglasses.

Projects. They are the things which keep us moving on the path towards whatever the fuck it is we’re looking for.


A digital zine entitled ‘goofbang’, collecting art from artmakers around Australia, throwing them online and onto a CD, then leaving links and discs in strange locations for the general public to pickup and use/disuse. Issue ONE out by the end of the month, some sort of website to follow.

Several sound jobs for various shows at the VCA, two of which are by Molière;

Operating sound for a collection of 5 original dance pieces at the Gasworks Theatre in Albert Park starting in early June.

Sourcing and recording material for a production of Le Bourgeois Gentilhomme, a couple of pieces can be heard below (neither of which are played by me, only recorded):

Creating an atmosphere track and sampling a bouncing ball for a production of The Learned Ladies. I’m really looking forward to creating an original piece for this show, however I’m having a heap of trouble getting in contact with the director and she won’t call me to discuss it.

Still missing playing in a band. Have great fun at Cicada practice, but its only once a week. Really want to start a doom/drone/noise project, now that I have hardware and time.

Listening: Eminem – Relapse (and I’m really unimpressed. My appeal to Eminem has always been that he wasn’t a generic rapper. Now he is.)

Dusting Off The Cobwebs

Recent events have sparked me to change my musical venturing from the somewhat pathless olt project to a more vivid, uncharted area for myself in what I’ve chosen to term Transmissions. I work predominantly with live, processed feedback from my home computer run through Ableton Live, as well as bass and guitar feedback to create a space for listening. Not many people actually want to listen to me ramble with feedback for 20 minutes or so, but I want to meet every single person that does.

olt signified a transition, from trying to make music unsuccessfully to suddenly having an output and making multiple pieces of music at a time. Stepping back to look at it now, it was a very formative period and I feel as though I’m moving more into a collaboration/live setting, incorporating the self-generated noise into a room with other self-generating noises.

I hope to include these creations in classwork that I’m doing for my Bachelor of Theatre Production at the VCA, keeping the ball rolling in terms of output and also still releasing, hopefully at some point, the planned split 3″ CD release with Reuben on my good friend Damien’s LaMachine label. He’s not had the best time of late and I wish him the best.

If you have any work that you need a soundscape for, please let me know. I’d really love to incorporate some foley sound into my practice too.

Jeff Buckley Collection

I had a post on my last blog that had a bit about Jeff Buckley’s Babylon Dungeon Session demo and a link to the files. Here’s the file link again for anyone who missed out.

The demo was Jeff’s first, recorded and released to labels in 1990. It contains early version of Last Goodbye (Unforgiven as it was known at the time), and instrumental version of Eternal Life, and two previously unreleased tracks, Radio (a sharp shocker of rock) and Strawberry Street (a cruisey, psychedelic rock tune), contained here in both vocal and non-vocal version. Strawberry Street appeared on the bonus disc of the Grace Legacy edition, but in a live version that differs from these. Jeff played all the instruments on these demos, and they are a must for any hardcore Buckley fan.

Babylon Dungeon Sessions Demo

Marching Towards Education 2009 Campaign Update

Finished that assignment that the last post was about. For this class I have called CFI, we had write a 500 word essay on an archive, be it public, personal, virtual, whatever. I chose my music collection, which has shifted and expanded significantly over the years. I had alot of trouble squeezing in everything I wanted to talk about, there was so much more back story I wanted to give, but alas 500 was the limit. So I generally stick to pointing out that it is an archive and I talk about how I organize. it. Anyway, shutup, read it yourself.


We understand libraries as a fairly common thing; a source of information, an archive of knowledge, something we utilize every day of our lives and often without realizing it. Any collection of old objects you have around your house can be described as an archive, a systematically organized series of back-ups that over time form a collection. For this assignment, I have chosen my music collection, an archive that is dearly loved by me and meticulously organized.

I decipher my record collection in many different ways. For starters, I have my collection spread across several platform types, including CD, MP3, Cassette and Vinyl. I started collecting music from around 13 (now 25), using multiple cassettes and recorded songs from Triple J, often getting two tape decks and dubbing tracks across to make mixtapes. I began filling them up with songs from CD’s I had bought or borrowed off friends, and my collection steadily grew. Over the following years I spent a fair bit my earned money on music. My collection swelled gradually, buying around 2-3 albums a week and taking a long time to actually digest them all in my brain. I got used to listening to so much music at once that in college a pair of headphones barely ever left my head. I had moved on to CD’s entirely by this point, making mix discs of mp3’s I had downloaded and burnt onto CD for use in my trusty discman. I would pull in full albums very slowly over a dial-up connection and listen to them gleefully, embracing the technology and finding new music constantly. On more than a few occasions I would rip my entire CD collection onto my harddrive, just to bolster the size of files that I had at the time, and to add more albums to the collection. In the year 2000 my mp3 count was around 3000, it now floats around 17,000 as I’ve run out of harddrive space to fit it all. I share my collection online now and then as well.

My file system for my MP3s is designed very simply, with a folder in the root directory for the artist, then a subsequent folder for each album. I have alot of songs that aren’t from any album like a b-side or live track, and these are put in the artist folder or in a Misc, Live or otherwise named folder. Each file has an ID3 tag, which is an info file encoded onto each MP3. Music software can read this and you can tag it with any information you like, such as artist, track name, number, etc. It is a constant struggle to maintain tags for such a large file system, with new albums coming in all the time, but I try to keep it tidy.

Since 2006 I have now held a top albums ranking, making a shortlist of my favourite 50 or 100 albums, then chiseling them down to a lower number, coming out with 10 in 2006 and 25 just recently. It is a tiring process but it is somehow satisfying knowing that you have a list of the albums that have meant the most to you in your lifetime. Find a copy of these on the overleaf.

Favourite Albums List 27-11-06:

1. Jeff Buckley – Grace (1994)
2. Pink Floyd – Dark Side Of The Moon (1973)
3. The Beatles – Sgt. Pepper’s Lonely Hearts Club Band (1967)
4. The Doors – L.A. Woman (1971)
5. At The Drive-In – In/Casino/Out (1998)
6. Boards Of Canada – Music Has The Right To Children (1998)
7. Led Zeppelin – II (1969)
8. Coldplay – Parachutes (2000)
9. Metallica – …And Justice For All (1989)
10. Nine Inch Nails – Broken (1992)
11. Radiohead – Kid A (2000)
12. Marilyn Manson – Smells Like Children (1995)
13. Gomez – Liquid Skin (1999)
14. The Dandy Warhols – Thirteen Tales From Urban Bohemia (2000)
15. Tool – Undertow (1993)
16. Faith No More – King For A Day Fool For A Lifetime (1995)
17. Kyuss – …And The Circus Leaves Town (1995)
18. The Tea Party – Splendor Solis (1993)
19. Fugazi – Repeater (1990)
20. Death From Above 1979 – Heads Up (2002)