"Australia's premier sound-arts festival Liquid Architecture celebrates its ninth consecutive year with concerts, surround sound presentations, audio-visual and recorded work, exhibitions and installations. Featuring our most imaginative musicians, composers, sound designers and media artists in a sense-specific feast for the ears." More
Australien radio show "Quiet Space" is featuring artists performing at the ninth annual Liquid Architecture festival. Listen here
Animal Collective shows are now beeing hosted at archive.org!
allmusic.com: "In 2000, in New York City, Avey Tare (aka David Porter) and Panda Bear (aka Noah Lennox) established Animal Collective with the issue of Spirit They're Gone, Spirit They've Vanished on their own Animal imprint. It was the first of a flurry of captivating, occasionally frustrating releases exploring the fringes and intersecting boundaries of folk, noise rock, ambient drone, twisted psychedelia, and, ultimately, pure melody." More
fat-cat.co.uk: "Friends and musical partners since 1992, core members Avey Tare and Panda Bear came together in 2000 with the intention of moving pop music in a direction that would place heavy emphasis on sonic experience. Soon after this, they began operating as Animal Collective, an umbrella name now used for a grouping of four people: Avey Tare, Panda Bear, Geologist and Deaken, who play together under different names and in different configurations (anything between 1 to 4 people), and whose releases are prone to continual musical change: from beautifully skewed pop ballads to fiercely ruptured noise-squalls to tribal rhythmic work-outs to simple folk songs, to who knows where; from fully orchestrated group freak-outs to a the intimacy of an acoustic duo." Read more
<img src="swen.antville.org" align="left"hspace="3"> boomkat.com: "Robert Henke has been releasing music under the Monolake moniker for a staggering 10 years now, originally in collaboration with Gerhard Behles and then on his own. In recent years he has been joined on production duties by the mysterious T++ (Torsten Pröfrock, one of the finest producers of post Basic Channel techno variants under a number of revered aliases) and this is their first album working together on a full-scale basis. What’s remarkable about Monolake is its ability to shift and morph so effortlessly with the times while using more or less the same basic constituent parts. And so what we have here is a collection of spacious, metallic, dub-infused killers that radiate with crunchy and utterly complex beat structures that never veer into academic realms." Read more
shef.ac.uk: "After studying classical flute at secondary school, at the age of sixteen Tony Bevan began playing the soprano saxophone, inspired by the dislocated rhythms of Captain Beefheart and the endless repetitions of Terry Riley (for good or ill, influences that have stayed with him to this day), and encouraged by Aylesbury town boy Lol Coxhill, who was kind enough to give him his first soprano lesson and point him in roughly the right direction . A year later he bought a tenor saxophone, and quickly added Sonny Rollins, Ornette Coleman and Warne Marsh to his list of influences. Around this time he also discovered the music of Derek Bailey, Evan Parker and Han Bennink via Topography of the Lungs and was drawn haplessly into the world of Improvised music." Read more
Fiend Magazine: e.p.a is Darrin Verhagen aka Shinjuku Thief, who as a sound composer has always infused a certain intelligence into his recordings. Albiet with e.p.a, Darrin has shunned the more considered & academic aspects of his trade by releasing an album (black ice) of unadulterated harsh noise. Forming the first part of the "black | mass" trilogy, this aggressive little number contains an unrelenting sonic barrage to incinerate your eardrums, & literally pound your internal organs if the listening suggestion is adhered to ("play loud - no headphones!"). Utilising layers of furious high frequency distortion & incessant feedback, the tracks present an aural aesthetic that flits between being barely controlled, through to chaotically free form. With 7 tracks at 45 minutes, this is an unforgiving sonic ride not for the faint of heart. Constituting an all out assault on the senses, the final question is: are you game enough to take this on?!
drjimsrecords.com.au: "Tim Catlin is a Melbourne based guitarist & sound artist. His guitar practice focuses on extending the sonic possibilities of the guitar in live and studio settings. As a performer he uses customized effects, guitar preparation and constructed playing devices in conjunction with live looping and improvisation to produce finely textured and slowly shifting fields of sound. Recently he has performed at the What is Music and Next Wave festivals and his sound works have been included in the Variable Resistance Exhibition at the San Francisco Museum of Modern Art, and the Totally Huge and Liquid Architecture festivals. His sound works have also been included in the Immersion surround sound concert series, Cinesonic film sound conference and exhibited at the Westspace and First Site galleries in Melbourne."
quamusic.com: an unrepntantly gorgeous and nostalgic mix ofsunlit electronics and guitars, buoyed by complex arrangemnts, and crafted by a gentle iconoclast - bringing to mind the playfulness of Mouse on Mars, the sophistication of ENo Morricone and the warm hush pop of Architecture in Helsinki
Thembi Soddell is a Sound Artist from Melbourne, Australia. Her work focuses on the abstract and textural nature of sound, intricately sculpting field recordings and generated sounds into dark, suggestive sonic landscapes. From sounds on the threshold of perception to rupturing bursts of noise, her particular focus on dynamics aims to suggest narrative through generating anticipation and suspense. The result is an evocative and tense sonic journey, which at the same time is quite beautiful. She does work for CD, gallery installation, and live performance. In 2002 she graduated from Media Arts at RMIT where she specialised in sound.
Bucketrider.com: "Bucketrider have distinguished themselves as one of the most innovative and challenging contemporary music ensembles in Australia.
Founded nearly a decade ago by David Brown, Sean Baxter and Tim O'Dwyer, the group has been at the forefront of experimental music in Melbourne since its inception.
As adept in the rarefied realms of improvisation and new music as they are with the raw energy of free jazz and punk rock, bucketrider fuse these disparate styles into a coherent and exciting whole. Intent on breaching the artificial boundaries that exist between so-called serious and popular music, they have successfully introduced rock audiences to the energy of free jazz, jazz audiences to the vibrancy of punk, and classical audiences to the delights of contemporary improvisation." Read more
From a review of his latest CD Multiply:"Jamie Lidell sounds like everything you’ve ever heard, and yet nothing. More specifically, all the soul and rhythm and blues you’ve ever heard, and yet none of it. Curtis Mayfield, Stevie Wonder, even the aloof brilliance of Gil Scott Heron, they’re all here in spirit on this resplendent album, but they never interrupt.
The sound of street-corner harmonies, the drive of funk, the slappiest of slap bass, doo-wop to the power of ten, and everything else in between, it’s all here in spades. Yet where R ‘n’ B has become distinctly lacking in soul over the years, homogenised and trapped, Lidell injects it with the vibrancy and the urgency that it was always meant to have. In a way, and partly because of its heritage, Multiply can sound a little old-fashioned at times. But in another, more significant way, the hand-made and off-kilter feel to his arrangements ensures that Lidell’s music is timeless, perhaps even futuristic. Put it this way - if you think you know what to expect, you don’t." Read more at Pixelsurgeon.com
"Trying to situate Magik Markers in any sort of pre-existing pantheon is pointless. Since beginning as the manic rumblings of three friends in one of their grandparent’s basements some four or five years ago, the band has cut a swath across noise, improv, free rock, no wave, punk and/or hardcore, usually all at once, bellowing forth a sound that leaves all reference points bloodied in the dust, scratching their collective heads and wondering, “What the fuck just happened?”
“The band started one night in Hartford, Connecticut,” says Magik Markers’ drummer Pete Nolan. “I was getting bored of jamming in the basement by myself, mostly making noise with vacuum cleaners and broken PAs, so I got my friend and roommate Leah to come play some guitar while I jammed the drums. That was OK, but we needed something else, so we pulled Elisa off the couch where she was sitting reading and chewing her fingers. It was pretty tough but we eventually got her down there, and we pretty much sounded like we sound now. Maybe more surfy or something...”" Read more at dustedmagazine + 1 MP3 file
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shef.ac.uk: "After studying classical flute at secondary school, at the age of sixteen Tony Bevan began playing the soprano saxophone, inspired by the dislocated rhythms of Captain Beefheart and the endless repetitions of Terry Riley (for good or ill, influences that have stayed with him to this day), and encouraged by Aylesbury town boy Lol Coxhill, who was kind enough to give him his first soprano lesson and point him in roughly the right direction . A year later he bought a tenor saxophone, and quickly added Sonny Rollins, Ornette Coleman and Warne Marsh to his list of influences. Around this time he also discovered the music of Derek Bailey, Evan Parker and Han Bennink via Topography of the Lungs and was drawn haplessly into the world of Improvised music." 
