eclectic and experimental australian music

NWA001-Portolfio

New Weird Australia, Volume One.

New Weird Australia Volume One, July 2009, NWA001

DOWNLOAD FREE at newweirdaustralia.bandcamp.com

1. CLINGTONE The Intruders (1:23) From ‘Mary Had A Little Lamp’
2. ANONYMEYE If At First You Don’t Secede… (5:31) From ‘The Disambiguation Of Anonymeye’
3. LESSONS IN TIME Those Plastic Street Signs Are Not To Be Followed (2:02) From ‘Lessons In Time’
4. TELAFONICA Time And Distance (6:32) Previously unreleased
5. PIMMON On The Other Hand This Carbon Fire Is (Flammable) (4:36) Previously unreleased
6. KYU Sunny In Splodges (5:19) Previously unreleased
7. BATTLESNAKE Shadow Of The World’s Tallest Midget (5:22) From ‘Umlaut’
8. TOM SMITH Settled For Less (3:09) Previously unreleased
9. RAVEN Presumption #1 (3:10) Previously unreleased
10. LOOM Snail Shell (8:06) From ‘All You Need Is Teeth’
11. INQUIET Honey & Seeds (3:28) Previously unreleased
12. PREDRAG DELIBASICH Heartburn (13:37) Previously unreleased
13. BRUTAL HATE MOSH Roads (1:43) From ‘It’s Pronounced Kate Moss’

Compiled by Stuart Buchanan
Artwork by Adrian Elmer

Click artist title for background information and links.
All music donated by the artists for use in this compilation only, all rights reserved.
Thanks to all the artists for the leap of faith in donating their tracks for the first volume in this initiative. Special thanks to Danny Jumpertz and to Adrian and Blake for their early support.

Sleeve Notes:
Geography dictates that, to some, Australia may forever remain as the Romans once saw it, as the “unknown land of the south”.  However as technology conquers territory, distance becomes increasingly insignificant – a fact that is clearly illustrated on this first instalment of New Weird Australia. In borrowing (and expanding) ‘new, weird’ terminology, we hope to shrink the notion of distance between innovative Australian artists and their international compatriots; between the dot points on the vast map of our own land and between definitions of genre, taste or style.

For Volume One, we find ourselves narrowing the gap of the 4,000km range from the precision edit and bluegrass glitch of Brisbane’s Anonymeye, to the free-jazz of Yugoslavian ex-pat and Perth resident, Predrag Delibasich.  We simultaneously compress time – moving from Pimmon (a renowned experimentalist with a significant international back catalogue) through to Kyu, a nascent duo freshly ripped from the Sydney soil. We additionally garner exclusive tracks from Telafonica, Tom Smith (of Cleptoclectics), Raven and Inquiet, and recent releases from Clingtone, Lessons In Time, Battlesnake, Loom and the inappropriately named Brutal Hate Mosh.

Neither popular nor alternative, neither one genre nor another, New Weird Australia represents a new breed of Australian musicians that find refuge in the space between us.  We hope you enjoy this selection and seek out the full library of work that these artists have to offer.
Stuart Buchanan, July 2009.

New Weird Australia is a not-for-profit initiative established to promote eclectic and experimental Australian music. Free compilations are available to download every two months from www.newweirdaustralia.com. Contributions from Australian musicians and artists are welcomed and encouraged – submission details and terms can be found on the About page.

Press for New Weird Australia Volume One:

The Silent Balletfulfils the brief of a compilation better than most others I’ve ever encountered”

Impose Magazine “does a number on anyone looking for a unified front from the land down under”

A-Reminder believes that “It’s projects like this that make this whole internet/music thing really, really exciting

Alternative Media GroupA great idea, and an interesting listening experience guaranteed.”

Foxy Digitalis “there’s good, unfamiliar (free) music to be had here”

Clingtone

cling-tone-image-470

Clingtone by Clingtone:

Barramunga, Australia February 2009.

Cast adrift in the space of Terra Nullius, a lifeline is an RCA. There are no extra rations. These cords, these wires, these circuits. Michael Jackson’s Moonwalk in Zero-G. Shitting in a tin can, with nuclear families and broken home fallout far below. Somehow everything works, and they are happy here. There is no signal to disturb them. Only machines, transported from one point to another, that somehow still give a sense of place.

Dirty, unhygienic, raw. Mip Fumo’s breakfast steak wasn’t shaping up too well. While Richmond LaMarr sat tinkering with their beat-colliding collaboration, Fumo was obviously missing his girlfriend’s cooking. The sliced onions clung stubbornly to the edge of the pan, limp and lacking colour, and the blood-red steak soon ended up blackened, tasting little better than the sole of his vintage Adidas sneakers.

Thrown together for the first time, Mip Fumo and Richmond LaMarr escaped the city to spend four days grafting their beats together in the Australian bush. Just a few weeks later, eucalypts to the far north would split and literally explode in intense radiant bushfire heat, but here the often fickle hand is more considerate. They need a crackling fire for the cold nights, despite the warm days. The wild grass grows green in these hills. As the slope falls away the sun brands the fields yellow where they push out to cities and coasts, drought, recession and unease.

Mary Had a Little Lamp reveals a sense of humour. Can you imagine U2 releasing an album with a title like that? But listen. This shit is still serious. Everything happens in prime time. Free from the boring work that pays the bills, Mip Fumo and Richmond LaMarr took their chance and ran with it. Minor edits, little post production. “That sounds cool so let’s do the next one.” The way the best music is made. Transcending the Tasman, clicking digitalism while parakeets and black cockatoos flap outside, hardware and software, wooden floorboards and deep rugs. The hard and soft, the yin and yang. You get the picture, and the picture is perfectly clear.

myspace.com/clingtone

Clingtone is featured on ‘New Weird Australia Volume One‘.