Ernie Altoff’s “Moggs Creek Picnic Ground” 2012 field recording album is available digitally now for the first time. The digital version has been remastered by John Campbell as one single track for continuous listening pleasure. The download comes with a PDF of Althoff’s liner notes as well. Copies of the original CD (with 70x 1 minute tracks) still available.
Clinton Green & Andrew McIntosh’s 2013 collaborative album “Kasoundi” is available online for the first time. I can’t remember for sure, but I feel like we were both quite into the whole Jeph Jerman sound-of-objects thinking when we made this album.
One final copy of the original glass-mastered CD remains (SOLD OUT).
We have a final 3 copies of the original digipak left over spare from the print-run, available now with a CDR of the album.
Shame File Music is importing Judith Hamann’s two debut albums from Blank Forms. Pre-orders available now, stock due to arrive in Australia late November 2020; import numbers will be based on these pre-orders, reserve yours to avoid disappointment (and horrendous overseas shipping costs):
Ten years ago, Shame File Music released the “Artefacts of Australian Experimental Music: Volume II 1974-1983” double CD. It’s now available digitally, along with a full PDF of the original liner notes on download:
Copies of the double CD are also still available.
The seminal original instalment “Artefacts of Australian Experimental Music: 1930-1973” is also available digitally, with a few copies of the original CD left.
Copies arrived last night, pre-orders will be shipped out in the next week or two. The special pre-order price of $12 remains until 15 August, order here. Digital version also available on Bandcamp.
Still taking and shipping orders through Melbourne COVID-19 shutdown.
Shame File Music invites submissions from sound artists/musicians in Melbourne who have made/ are making recordings this year during the various COVID-19-related lockdowns, to be collected into a digital compilation album.
Music Under Lockdown will document this unique time for artists in Melbourne. We ask for recordings made during, and in some way in response, to the various levels of lockdown we have and continue to live under. They don’t necessarily need to be high quality performances or recordings, I’m more interested in how they reflect lockdown and our responses to it.
I recognise and acknowledge artists in other cities and countries also living and working in these unique circumstances to various degrees, but this particular collection will focus on artists in Melbourne.
Please submit to email@example.com :
- audio recording (.wav file preferred), clearly identifying the track and artist name.
- some text describing the recording, the circumstances in which it was made, where (location, suburb, etc), and how it responds to lockdown (these texts will be included in the liner notes).
As this will be a digital-only release, there is no limit on maximum track duration, however it your track is very long, it needs to be for a good reason.
Looking for a lockdown project? Great Rack comes to the rescue with the release of “sample pack”, a pack of 100 free samples, that Emily Bennett invites you to do with what thou whilt.
The A3 Korg Signal Processing Rack was the mainstay of Great Rack, the alias of Emily Bennett, in the improvising experimental trio Great Rack and an Empty Club Reverb. The machine’s 1988 volatility has been distilled into a downloadable pack of 100 vocal samples ready to be chopped and sampled for future music and beat making.
What started as a semi-daily project for Bennett documenting and recounting share house living and collective collaborations with experimental improvisers and music-makers in Melbourne from 2017 to 2019, “sample pack” has resulted in a distinct collection of samples and micro-loops sent through a chain of effects for each preset.
Each track has been mixed, mastered and co-produced by artist and sound-maker Marco Cher-Gibard. The pack also features special guests throughout who were playing and performing with Bennett, giving brief glimpses into the improvised and experimental scene at the time.
Out now (split release with Iceage Productions) is the penultimate edition of the Surface Noise series, which each include live recordings from two artists; one invited by the labels, the other then nominated by that artist. This volume features two key Melbourne music identities: instrument builder/kinetic sound sculpture maestro, Ernie Althoff, and vocalist/composer/performer, Carolyn Connors.
Limited edition of 50 hand-numbered copies.
The Surface Noise series so far:
Volume 1: cleaning lady/Klunk
Volume 2: Cat Hope/White Drummer
Volume 3: Joe Musgrove/Makro & Detlev
Volume 4: Ben Byrne & Rosalind Hall/Anthea Caddy & Matthew Davis
Volume 5: Dotabata/Llara Goodall
Volume 6: Jenny Barnes/Alice Hui-Sheng Chang, David Brown, Nigel Brown, Tim Catlin, Rosalind Hall, Michael McNab
Volume 7: Club Sound Witches/The Mermaids
Volume 8: Snacks/Laura Altman & Monika Brooks
Volume 9: Ernie Althoff/Carolyn Connors
Volume 10: TBA
In April 2017, Barnaby Oliver and I started recording with the aim of improvising long-form pieces made up of a restricted palette of gestures and sound sources. Throughout the next two years we came together sporadically as we continued this quest, working through various ideas and changing instrumentation. Our work was gradually refined done to what you hear on this album: a combination of harmonics arising from bowed metal bowls and violin (or piano), coalescing into other-worldly music that at first appears static, yet constantly shifts and re-grounds itself – Clinton Green
Glass-mastered CD housed in full-colour 4-panel wallet or digital download.