Your privacy is very important to us
107, Redfern Street
12pm - late
The Analog Cabin collective have successfully contributed live performance showcases to previous Electro Fringe events in 2016 and 2017 and the suggestion was made by outgoing festival director Kimberley Bianca for us to put together a proposal for curating and project managing the musical proceedings for the evening of Electro Fringe 2018.
A bit about us we are a musical collective, record label and recording studio based in Sydney. We all are live performers, DJ’s and audio engineers who are very passionate about championing our local electronic and experimental music community and feel that this would be a good opportunity to do so.
An example of a recent project - We built a temporary Analog Cabin recording studio on site of the Subsonic Music festival 2017 which was an opportunity for the local and touring acts to wind down, record and collaborate. This was the pilot project and the festival organisers were very happy with the results as were the outing performers themselves.
D.A.Calf is a sound and installation artist, musician, composer and producer. He is currently in the Sound Art & Spatial Sculpture program at RMIT where his particular interests lie in explorations of trauma, memory, serialisation, place and cartography.
He has previously presented interactive installation works at Dark Mofo (Last Words in a Hearse - piece for three hearses and website, 2016) and for The Boon Companions (Human Reactable at All That We Cannot Say, 2016); gallery-based durational video and sound works (Remnant, Kings Artist-Run, 2017); live scores (Nature Morte at COP21 Film Festival, Federation Square, Melb, 2015); sound and light-based performances (Hurtz, Melbourne Music Week 2014, Electrofringe 2015, Tilde Festival 2016) and studio/field recordings (Terra series, 2014- ; One Hundred Sixty-Eight Hrs, 2017; Flushes of…, 2016- ; Seven Mornings, 2017).
Dysnomia are made up of Kimberley Bianca and Frank Booth.
Elbee presents a unique sound palette of rich synth tones, field recordings and found sounds arranged into eccentric grooves. His live set has been carefully refined for over a decade, transitioning seamlessly in and out of finely crafted studio compositions and modular synth improvisations on a journey through vast ambient landscapes, clunky breaks, braindance wig outs, footwork, jungle and beyond.
The performance is a mash up of sonic improvisations morphing into studio compositions before glitching their way back into improvisations, all the while feeding data to a world of geometries textured with experiments on film.
The DATASLAVES Show is an integrated multi-media performance featuring a duo of Australia’s leading classical musicians emersed in a complex atmosphere of electronic music, moving image and lighting. Highly regarded as “Engaging and Dramatic Classical Music” and “Steam-Punk-Digi-Theatre”, DATASLAVES is part of a revival movement of intermedia art and new-theatricality in concert music.
This years series, after a successful run of the FOET EX MACHINA show in the United States, features a new concert music structure – a complex collage of disparate works of varying styles are brought together in a single, seamless, theatrical performance. DATASLAVES is an audio/visual feast; we challenge what you know of art, music and the world wide web. We are all data slaves; you are one of us!
F00L are an experimental electronic and woodwind project by best friends Harry Klein and Alex Job. As musicians, the pair believes that the raw expression of sound and music is a medium of pure linguistics, and one that should be explored as personal data. Job is renowned for being a man of few words. Instead, his voice can be heard through the extension of his beloved woodwind instruments.
Through the language of sound, F00L will deliver an entirely intuitive and improvisation performance which values sound as a type of unpolluted code. Job will interpret an archive of 8 years of private messages between the two musicians, and transmit these messages in his own expressive way. Klein will then take Job’s real-time playing and manipulate his voice through various electronic processors to create an incomprehensible language that no external force can exploit.
Media as an extension of our nervous system as posited by Marshal McLuhan. The once illegal act of eavesdropping that has now become an ethical issue of corporate interest. Social media as filter and a guise for individuals and organisations to create falsified identities... I became intrigued by "the accidental pink fascist" (source quote shall remain anonymous) Christopher Wylie. What is the timeline and journey that individuals take from the seed of passion to the cliff's edge...?
Jon Panther is a multimedia performance artist enjoying the relationship that the human voice has with recorded and transmitting mediums while flippantly celebrating the absurdity of the ordinary. He gained his MA in interactive Multimedia, London University of the Arts. 2001 and his MMusA (distinction) in composition, NZSM Victoria University of Wellington Jon has released work under the name Audiotopsy since 1999 in the UK, Japan and Brazil, had the pleasure of performing with David Appleton of Piano Circus and composer Yumi Hara Cackwell, has composed for local radio broadcast, had a composition included in the 2010 edition of Jeu de temps/Times Play (JTTP) Cache, compositions and performances included in various Metanast events in Manchester UK and Listen Hear! London and various fixed media pieces diffused by WFLS Wellington NZ.
Process-based forms of composition and visual design guide my practice - texture and minimalist approaches construct the foundation of my process for generating sound material and interactive visual designs. Sonically my work consolidates field recordings and digitally constructed sound designs to create music situated within the genres of dark ambience, glitch and noise music.
My work aims to be audibly and visually immersive - using coding and unorthodox approaches to incorporate visuals and experimental film footage into claustrophobic spaces. My visual work adapts generative processes into an audio-reactive performance space while corrupting traditional formulas to create uncertain results. The goal of my practice is to create dense sensory experiences that juxtapose temporal spaces - exploring the grey areas between extreme movement and stillness and how our consciousness becomes altered in such states.
New Sound Waves Records is an initiative born within Sydney-based New Sound Waves modular community.We are proud to announce an independent record label focusing broadly on experimental sounds and aiming to showcase Australian and New Zealand talent as it deserves. The performance will be made up on a small number of modular artists and short performances.
Privacy in the digital world relies on strong cryptography to prevent our data being read by unintended parties. Cryptographic algorithms rely on small amounts of randomness - or entropy - to neutralise the amount of structure that is present in an unencrypted message. Using entropy makes it much more difficult for a malicious attacker to crack an encrypted message, because they can't leverage weaknesses in the underlying structure of the original message. In this audio work, Seapelt explores the notion of using entropy as a tool to hide structure, while still being careful to ensure that the original form is not completely lost. Sounds and melodies are generated, mutated, and then reassembled.
Now based in Sydney, Australia visual artist Lipstik performed in Montreal and Berlin’s Electro Punk scene since 2000 with the electric and luscious singer Venus Virus. Fond of sharp-edged digital guitar riffs and Acid sounds, the artist re-emerges from the shadows with a unique futuristic and psychedelic Disco Rock project under the name SEX DATA. '' Back from the Dead, Highway Lords, Future Now...'', SEX DATA gets his inspiration from the 70’s & 80’s SCI-FI, action and horror ''Z movie'' culture.
French Australian multi-instrumentalist Stephane Bouclier composes and plays original dark and catchy electronic dance music.
Movie soundtrack: In a dystopian future Sydney ruled by machines, physical expression of creativity doesn't exist anymore and society is on the decline. Using stolen human artists' personal data, robots try to (re)create emotions to save their world.