Collaborators include Chip Wardale, Steve Law, Mark Tallon, Adrian Symes (Australia), Ludwig Zeininger (Austria), Alex Bozas, Roy MacGregor (South Africa).
Terminal Quartet members vary each performance and have included Ollie Olsen, Steve Law, John Grant, Ash Wednesday, Robert Henke, Ross Bencina, Paul Abad, Andy Bagley, Andy Kettle, Jeremy Yuille, Julian Knowles, Lawrence English, Peter Venus, Seppo Grundler and Korean artists, Jin Sangtae, Ryu Hankil, Hong Solme (cellist), Choi Soohwan.
Influences
Kurt Weill, Stockhausen, Gershwin, Grainger, Kraftwerk, Xanakis, King Crimson, Keith Tippet, Soft Machine, Henry Cow, Japan, Aphex Twin, Eno, Bowie, Orchestra of Skin and Bone, SPK, Birthday Party, Fela Kuti, Lalo Shifrin, Steve Reich, Univers Zero, Charlie Parker, Dizzy Gillespie... to name but a few.
I do a lot of things... but more recently, after 15 years of
electronic music making, I've returned to a more intimate style of writing and
performance. I love it! I play guitar, tell stories, am known to
sing... So if you're looking for an entirely original, live and
acoustic experience, I'm your man.
I also perform solo "noise" voice where I explore the rather
vast range of tones and pitches I seem to be able to create. I'm kept largely nomadic by various international commissions from film productions to installations and what's left of my electronic music career, I produce what Ollie Olsen describes as
"nose bleed techno" under the name Headlock.
I began producing and performing in the late 70s as
synthesist, saxophonist and spoken word performer. Played with English
influenced punk/soul/pop group Private
Lives (1979 - 1984) and fusion/impro outfit Lingo Babel
(1985-1987). Also had the good fortune to play my rather unique, noisy,
raspy and affected saxaphone style with groups such as Sardine v, Red Crayons, Tension Nuts and Kling Klang... many
more I can't remember.
In the late 80s I formed the acoustic based White
Punks on Hope and the jazz-punk trio, Return from Nowhere.
I went on to compose documentary soundtracks,
interactive installations, both on and offline. I published articles on
independent media, generative music and radio art; and worked with
pioneer community internet provider, Pegasus Networks.
I'm told I'd conceived of perhaps the first generative sound
piece for Australian radio and internet in 1997, a collaboration with
Stelarc, for ABC's The
Listening Room (now off-air) and co-produced a series of
live audio-video collaborations commencing in Melbourne in 1998 and
culminating in a series of works for the the opening of the Taipei
International Arts Festival in 2001. From 1997 - 1999 I co-founded,
wrote, produced and performed with the Austrian based Electropathological Consort
and in 2005 curated the generative sound series, Frequency Post, for
the Vienna based, KunstRadio.
In amongst all of this I managed to set up of Secession
Records, an artist run label in collaboration with Ollie
Olsen, Steve Law, DOODS and Future Eater.
I also lead the international project, Terminal
Quartet, the Son
of Science Ensemble and had previously performed and
released under the names Lost
Time Accident, Dark
Ambient Operators and Fierce
Throat - a screaming choir.
The Scroungers sound like punk was always supposed to, but rarely did; urgent, raw and dripping with sardonic anger. The fact that the Scroungers (a solo home recording project) grew partially out of Macka's growing dissatisfaction the Melbourne punk scene of the early 1990s is somewhat ironic. Working in relative isolation and never performing live, Macka recorded a large body of work that is arguably the rawest, high-octane, politically and socially incisive punk rock the country has ever produced. Yet the Scroungers remain unknown to all but a few.
Bored, Pissed and Agro: 1991-1997 reproduces the best moments from the eleven Scroungers releases (ten cassettes and one split 7") during these years when the project was active. Download it from Shame File Music, with full liner notes from Clinton Green
High... When they fight for loudness we care for silence!
There is magnetic force between the globe of the earth and heavy bodies, or between the globe of the moon and the waters of the ocean (as seems highly likely judging by the twice-monthly cycle of high and low tides), or between the starry heaven and the planets whereby the planets are drawn up to their highest points, all these must operate at very great distances. Some cases have been found in which materials - the naphtha at Babylon is said to be one - catch fire from a great distance.
A Vortex of sounds, silence and thoughts, is flying above the Spires of an ancient place. My spirit is there! I'm working to make a dream real ... Thanks Garton!
wow man that album of yours blew my brains out all over the windscreen on my roadtrip this week. if i don't see you before your return to oz, it was really great to meet you.
I'm in Bichofswerda (near Dresden) at the moment - on stage in a couple of hours. Tour has been great so far, driving pretty hardcore though. Played in Austria the last two nights - Salzburg was incredible.
Have a great time on your trip. Speak to you soon,
monsieur Garton!
indeed it is i sneaking up on your myspace whirrrld!
have a peek at
myspace.com/leftsensorybypass
its a little project i work on... ye might like it..
say hi to the melbs for me...
x
R*
howdy do de,
letting you know we just adding 2 tracks to our profile___
fourteen and
fashion
groovy blasts from our pasts, maybe a dream inside a dream inside a mind that maybe mine, or freddies, or god, maybe.
Hey Andrew, if we do not meet in this life then maybe the next! I have a couple of significant events coming up in the next few months, so fingers crossed we can catch up then.
..
