rosy parlane “jessamine” compact disc

• part one (13:13)
  
• part two (16:29)
  
• part three (19:08)

touch press release...

touch # to:68 3 tracks – cd only 48:42 photography & design: jon wozencroft rosy parlane [nz]'s previous album for touch, 'iris' [2004] was hailed as a masterpiece by the red hot chilli peppers guitarist, john frusciante, who wrote: "...it’s such an incredible, beautiful energy inside of it that to me, it sounds like listening to a great pop record or a great rock record or a great classical record or whatever." jim haynes in the wire wrote: "jon wozencroft's impeccable photography and design packages rosy parlane's 'iris' inside a predominantly blue package, inextricably linking the music to the emotional resonance of the colour... he flushes his soundfields with cascades of digital fragments which he separates into two distinct compositional categories. on the one hand, parlane stretches sounds from guitar, piano and organ into unrecognisable drones that swell into dense layerings, every once in a while coalescing into fluttering half-melodies. on the other, he emphasises the textural qualities of those digital fragments, simulating the natural acoustics of ice crackling from trees in winter or the gentle patter of rain on a windowsill. when fusing these together by placing the textures against the backdrop of the drone, parlane effectively builds pointillist sound environments with a profoundly human melancholia." with 'jessamine', rosy develops these themes, and continues to incorporate new musical elements from unconventional as well as orchestral instrumentation. to him, everything is an instrument: from household objects to nature sounds, thus placing him firmly at the centre of the avant-garde. but it is the human element, as with all touch artists, which gives his work such a distinctive sound. ranging from ambient to noise, he gives full rein to textures of living; to start, languid and mournful; later harsh and assertive. 'jessamine' is a magnificent follow-up to a classic touch debut. ... cd credits: written & recorded in auckland, nz august 2004 – august 2006 rosy parlane: electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw, amplified sawblade, bowed metal, household objects, contact microphones, field recordings, radio, computer marcel bear: shimsaw on part 1 tetuzi akiyama: resonator guitar with samurai sword and contact microphones on part 2 individual guitar contributions on part 3 by lasse marhaug, anthony guerra, michael morley, donald mcpherson, matthew hyland, david mitchell, stefan neville, campbell kneale shimsaws and amplified sawblade designed and built by marcel bear

“s3d (ear & eye) • live at galatos / ak07” compact disc and digital versatile disc set

• deluxe cd / dvd set of experimental-instrument performances & group-improvisations !!!

• empirical / bart hopkin / james mccarthy (10:06)
  
• walter kitundu (4:25)
  
• phil dadson (8:13)
  
• adam willetts / ernie althoff / james mccarthy (9:13)
  
• tom nunn (1) (4:05)
  
• tom nunn (2) (11:48)
  
• akio suzuki / sam morrisson / walter kitundu (4:06)
  
• sam morrisson / walter kitundu / phil dadson / akio suzuki / ernie althoff / bart hopkin / tom nunn (9:43)
  
• yek koo (7:57)
  
• graeme leak / yek koo / empirical (10:21)

• empirical / adam willetts / graeme leak (7:33)
  
• yek koo (8:08)
  
• sam morrison (6:41)
  
• tom nunn (8:57)
  
• walter kitundu / sam morrison / bart hopkin (15:14)
  
• akio suzuki (7:23)
  
• empirical (w/ rosy parlane) (9:51)
  
• graeme leak (3:12)
  
• yek koo / tom nunn / james mccarthy (8:01)
  
• ernie althoff (11:44)
  
• bart hopkin (4:50)
  
• james mccarthy (4:53)
  
• phil dadson / akio suzuki / ernie althoff (16:12)
  
• adam willetts (9:30)

atoll press release...

s3d (ear & eye) presented a world of fresh sonics from new and unexpected sources with names as idiosyncratic and offbeat as the players and their inventions; analopos, blue, mothics, shimsaw, zitherum, gloopspring, crustacean, savart's wheel . . & the list goes on. seven innovators in their field of experimental musical instrument building and performance travelled to auckland to join with 5 local practitioners for three packed days of public workshops and performances, where acoustical, physical, electronic and virtual worlds came together in a unique chemistry. akio suzuki (japan), bart hopkin, yek koo (helga fassonaki), tom nunn (usa), walter kitundu (tanzania / us), graeme leak, ernie althoff (australia), with marcel bear, sam morrison, james mccarthy, adam willetts & phil dadson (new zealand). s3d has its genesis in rev, a 5 day worlds-first festival, celebrating musical instrument invention and performance at the power house in brisbane in 2003, where international contributors bart hopkins (usa), david toop, scanner (uk) & phil dadson (nz) were invited to join with local artists for a week of performances, seminars, exhibitions and installations. s3d differs by focussing on builder/performers with improvising skills to work solo and collaboratively through the three days of sonic exploration. s3d celebrates the magic of the new and unexpected with musical instruments and sounds that blur boundaries between art and music. generously supported by: the nz/japan exchange foundation, creative nz, auckland city & deloitte held march 17, 18, 19, 2007, galatos theatre, as part of ak07.