27 January, 2012
03 November, 2011
Long Time No Fee
A slight return tomorrow when ASR gather at Ian's for a new recording session with secret special guest....
and go to bandcamp to hear a rough edit
and go to bandcamp to hear a rough edit
06 July, 2011
Impetus Video
Video to accompany "Impetus" - the 5 minute edit from our last live performace at the ACRA launch.
22 April, 2011
12 June, 2010
A Cloakroom Assembly - Album Launch Gig
Saturday 19th June 2010
Megaphon Studios
Floor 2, Building 8
70 Edith Street
St Peters NSW
$10 at the door
8.00 – 8.30pm - Shane Fahey
8.45 – 9.15pm - A Slow Rip
9.30 – 10.00pm - Gail Priest
10.15 – 10.45pm - Pimmon
11.00 – 11.30pm - A CloakRoom Assembly
This should be a great night of interesting and vital music.
Hope to see you there.
01 December, 2009
Gig a L'abercrombie
Another day, another Slow RIP gig...
Drove up from Austi with Ebags (Ian) with our gear rattling in the back, got to Abercrombie St but were confounded by the lack of access and parking (which I kind of expected) but also the lack of any sign of life from within the pub we were supposed to be playing in.
Long story short, an hour later we finally got in and loaded our gear into what passed for the beer garden out the back.
The Abercrombie Hotel was probably once one of many classic Sydney pubs serviced by the now demolished brewery next door.. but now, it would be fair to call it a classic inner city dive.
I don't frequent pubs much at all, except to play gigs in them, but I found the Abber's dark, dank, old-beer-smelly interior, lit only by down-lights with red gels gaffed over them, spray canned wall decor refreshingly unpretentious and totally preferable to the usual yuppiefied up-market be-chromed nonsense you find elsewhere these days.
I had a post-performance chillout moment by the pool table completely untroubled by human presence; kind of odd for a Saturday night, really. The weird post-neo-primitive-industro-techno music emanating (not too loudly)from the interior PA between sets was a perfect adjunct to staring balefully into the dimly red lit space with oscillating fan installation.
It smelt like 1989.
A Slow RIP were last to soundcheck and first to play which suited me.
Ian and Phil's wall of keyboards flanking me and my guitar flat on a stand, coffee table with electronic bits'n'pieces.
My set up is different each time I play and consequently takes longer to sort out and then there were the usual last minute technical sound hiccups, the ritual dropping of, falling apart and panicky reassembling of my E-bow.
Shane, who was mixing, did The Business performing his usual cool-under-pressure work for which we thank him once again...
So, the setting: Balmy evening in an inner-city pub beer garden under a waxing gibbous, the constant thrum of traffic, a back drop of gnarly trunks and leafy branches, a sound system on the edge of the void, only a vague idea of what I was about to do and we were off...
45 minutes later we stopped.
It's hard to describe what happens in between, not being a music/performance theoretician.
It is an intense, tightly focused inward journey through landscapes created in sound, which sounds totally pretentious but about sums it up.
It's like we set off as if we're a embarking on a grand family holiday, vehicle full of stuff, heads full of optimistic bravado until we go round a bend and find we're heading up a narrow wreckage strewn back alley to a probable deadend, or finding ourselves winding off-road into 4-wheel drive territory except we're only in a Nissan Bluebird with bald tyres and a shonky diff.
Other times wir fahr'n fahr'n fahr'n auf der Autobahn passing numinous light structures heading into a wide blue yonder, then bewilderingly becalmed in a sonic swamp with only a one legged singing duck for company.. Erm...
Once in a while I opened my eyes and found about 30 people in the audience.. but had immediately to dive back into to the wash to save a drowning siren.. stop stop...
Thankfully these synesthetical reflections don't occur while playing. it's all too linear, sucking us from one moment into the next moment.
Everything needs constant attention, attenuation for continuum continuation, there's no time for sitting back n' grooning to the muzak from a speaker in the shoe rack.
Then it was over, a small round of applause and it's get yer stuff off the stage for Makers of the Dead Travel Fast (and they do)
So our thanks and gratitude to Shane and the other gents who made it all happen..
See ya next time
Rob
Drove up from Austi with Ebags (Ian) with our gear rattling in the back, got to Abercrombie St but were confounded by the lack of access and parking (which I kind of expected) but also the lack of any sign of life from within the pub we were supposed to be playing in.
Long story short, an hour later we finally got in and loaded our gear into what passed for the beer garden out the back.
The Abercrombie Hotel was probably once one of many classic Sydney pubs serviced by the now demolished brewery next door.. but now, it would be fair to call it a classic inner city dive.
I don't frequent pubs much at all, except to play gigs in them, but I found the Abber's dark, dank, old-beer-smelly interior, lit only by down-lights with red gels gaffed over them, spray canned wall decor refreshingly unpretentious and totally preferable to the usual yuppiefied up-market be-chromed nonsense you find elsewhere these days.
I had a post-performance chillout moment by the pool table completely untroubled by human presence; kind of odd for a Saturday night, really. The weird post-neo-primitive-industro-techno music emanating (not too loudly)from the interior PA between sets was a perfect adjunct to staring balefully into the dimly red lit space with oscillating fan installation.
It smelt like 1989.
A Slow RIP were last to soundcheck and first to play which suited me.
Ian and Phil's wall of keyboards flanking me and my guitar flat on a stand, coffee table with electronic bits'n'pieces.
My set up is different each time I play and consequently takes longer to sort out and then there were the usual last minute technical sound hiccups, the ritual dropping of, falling apart and panicky reassembling of my E-bow.
Shane, who was mixing, did The Business performing his usual cool-under-pressure work for which we thank him once again...
So, the setting: Balmy evening in an inner-city pub beer garden under a waxing gibbous, the constant thrum of traffic, a back drop of gnarly trunks and leafy branches, a sound system on the edge of the void, only a vague idea of what I was about to do and we were off...
45 minutes later we stopped.
It's hard to describe what happens in between, not being a music/performance theoretician.
It is an intense, tightly focused inward journey through landscapes created in sound, which sounds totally pretentious but about sums it up.
It's like we set off as if we're a embarking on a grand family holiday, vehicle full of stuff, heads full of optimistic bravado until we go round a bend and find we're heading up a narrow wreckage strewn back alley to a probable deadend, or finding ourselves winding off-road into 4-wheel drive territory except we're only in a Nissan Bluebird with bald tyres and a shonky diff.
Other times wir fahr'n fahr'n fahr'n auf der Autobahn passing numinous light structures heading into a wide blue yonder, then bewilderingly becalmed in a sonic swamp with only a one legged singing duck for company.. Erm...
Once in a while I opened my eyes and found about 30 people in the audience.. but had immediately to dive back into to the wash to save a drowning siren.. stop stop...
Thankfully these synesthetical reflections don't occur while playing. it's all too linear, sucking us from one moment into the next moment.
Everything needs constant attention, attenuation for continuum continuation, there's no time for sitting back n' grooning to the muzak from a speaker in the shoe rack.
Then it was over, a small round of applause and it's get yer stuff off the stage for Makers of the Dead Travel Fast (and they do)
So our thanks and gratitude to Shane and the other gents who made it all happen..
See ya next time
Rob
23 October, 2009
29 June, 2009
MySpace Tracks
As per below, we're in the final stages of completing our latest 'release' - Wheat and Nerve. It's a compilation of material culled from our last 2 sessions, some of it over 2 years old. Rob has mixed these to perfection, I've done some final tweaking and naming and I have an image in mind but the photos have yet to be taken.
I've added three of these tracks to our MySpace page so please have a listen and let us know what you think.
"Huge Whopper (Dedicated To)" is an hommage to Hugh Hopper - the recently deceased bass player from Soft Machine: a touchstone band for all 3 of us. It's a slowed down section of another piece and sounds uncannily like the tones that Hugh created on his great solo albums like "1984".
"Platform 5" is a very eerie track with foghorn tones, pulsing guitar and a dark, enclosing feel. If memory serves me, this was fairly similar to how it sounded live.
"Another Wall" is a bit cheerier. Based around a rhythmic patch I created on the Ion (but have failed to replicate since) it has Ian soloing on a Roland and Rob confounding us all with swathes of guitar (see A Laurie Driver).
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