“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.

from scratch “pacific 3-2-1-zero” compact disc

• part 1: drones/voices (8:21)
  
• part 1: percussion stations (8:11)
  
• part 1: lament (4:09)
  
• part 1: pvc pipes & cymbals (4:00)
  
• transition: tossed & struck percussion (4:06)
  
• part 2: song hocket (3:51)
  
• part 2: voices & brass (8:43)
  
• part 2: hand percussion
  
• voices & brass (15:34)
  

atoll press release...

#acd301 pacific 3-2-1-zero from scratch parts 1 & 2 live an anti-nuclear performance recorded live june 1986 music/sound performance, rhythmic invention and experimental instruments have been a feature of from scratch since the 1972 manifesto vom. this was the original probe-and-hatch plan devised by phil dadson for the auckland scratch group as an alternative to the mainly improvised activities of scratch orchestra (nz) - an off-shoot of cornelius cardew's foundation group for a scratch orchestra which he was involved with in london during the late 60s. the rhythm stress implicit to vom prompted a drift from large scale pieces to smaller scale tightly-structured rhythm works and to the formation of the first from scratch group in 1974. the politics of from scratch are reinforced by it's pacific context. egalitarian and co-operative ideals are embodied in the music and the performance with players sharing equal and similar roles.