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1.
white & red 31:33
2.
Lux 37:42

credits

released July 1, 2011

________________________________

[white & red]
Phil Brownlee: violin
Lee Noyes: sampler/feedback-electronics

[LUX]
Lee Noyes: laptop-processed 19tet inside piano
Jérôme Poirier: electric cello

________________________________

Lee Noyes:
Lee Noyes is a Dunedin-based musician working in the field of acoustic and electronic improvised music and electroacoustic composition, with an emphasis on collaborative work, locally and internationally. Full details of his activities can be found at
www.leenoyes.com

Jérôme Poirier:
Jérôme Poirier is a musician using mainly the electric cello, voice, electronics and bodhrán in the areas of improvisation and acousmatic music. He is also involved in the chamber pop trio Landing Cellophane. He lives in Paris, France.
jpoirier.weebly.com

Phil Brownlee:
Phil is a composer and sonic artist, based in Wellington, New Zealand.

He has written concert works for, and in some cases collaborated closely with many of New Zealand's leading contemporary performers, including Stroma, 175 East, Robert Ibell, Bridget Douglas, and Richard Nunns.

His electroacoustic music is focused on transformations of environmental sounds, and the presentation of familiar sounds in unexpected contexts.

He has performed in the electronic improvisation duo The Brown Marks (with Jonny Marks), and with the interdisciplinary performance collective Amalgam, although both those projects are currently in hibernation. He has also made music for a number of radio dramas.
philbrownlee.co.nz
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Cover photography: Motoko Kikkawa
"Money We can't Use Here" 2011

________________________________


"Two works, the first, "White & Red" with Noyes on sampler and electronics, Brownlee on violin. The violin is spare and scratchy, Noyes' contributions fairly minimal. It's the kind of music that can easy succumb to aridity combined with a sense of meandering and that's almost the case here for the first several minutes. But gradually, a sort of tentative fluidity asserts itself, the col legno's take on a settled aspect and the electronics finds an interesting steady tone, an odd, rounded sound that somehow works quite well with the still dry strings. Things grow suitably chaotic toward the end, making the trip fairly satisfying overall. "Lux" is a substantially different creature with Noyes deploying a "laptop-processed 19tet inside piano" and Poirier on electric cello. While the sounds themselves are rather smoother than the preceding piece, the structure is fragmented into blocks, the arco cello, generally rich in tone, offset against a variety of electronic attacks that, true to their source (or one of their sources, at least) tend to have something of a piano resonance to them. There's a very odd and intriguing section with the inside piano generating a periodic, harsh alarm-bell sound while the cello is searching the nether regions beneath; very unsettling. It eventually slows down drastically, evolving into a series of blurts, burps and scrapes, yet retaining, somehow, a forward flow. Fascinating piece, I enjoyed it very much." Brian Olewnick

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