Subespai live @ EMOM #7 – The video

Thanks to my dear friend Josh Paton, I have a full recording of my set as a “featured artist” in the seventh edition of Open Frequencies, hosted by EMOM Sydney at The Hideaway Bar in Enmore, Sydney.

Watch and enjoy!

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Open Frequencies #7 – Featured artist!

Stoked to be the featured artist of this fine open mic event by EMOM Sydney open to all electronic and experimental musicians to have a go at performing live!

Open Frequencies is a monthly open mic event held at The Hideaway Bar, similar to other open mic events but different, because this one is, and I quote…

Seeking all forms of electronic music, including dance, ambient, noise, electro, techno, glitch, space rock, soundscape, modular, synth, electronica, chiptune, hip hop, loopers, improvised, live coding, experimental, breakcore, trance…!

Honoured and terrified to be the headline of this month’s edition. I will be playing at around 9 but for 20 minutes (which is a bit longer than the regular set you would be playing in one of these events), but come earlier to see all the acts and feel the amazing vibe!

The event invite is here, looking forward to meeting you there!

Microtopies 2019

Very happy to have contributed a piece for this year’s edition of Microtopies, a yearly exercise from the amazing Gracia Territori Sonor group, aiming to collect sonic miniatures of at most one minute of length, from all over the world, shaping a sonic journey that later becomes a special edition of the radio program Radio Música i Geografía (Ràdio Gràcia FM, Barcelona), as well as a digital release. You can listen to my track here:

 

And here is the complete playlist, which you can stream / buy directly there, in Bandcamp, supporting great independent music initiatives like this:

Radiophrenia 2019

Radiophrenia is a temporary art radio station – a two-week exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium.

FUll-logo-2019-923x1024Radio as an art form? Awyeah! Radiophrenia is a very cool radio festival happening in Scotland between the 13th and the 26th of May, a festival that smells experimental from the get go, featuring newly commissioned radio works, live-studio shows, live-to-air performances and much more!

Most of the works featured during these two weeks of crazy radio sounds come from an international open call, and I managed to get one short track in this year’s programme! My track, titled “We were not the intended recipients of this message” has been featured on the first day of the schedule as part of a segment called “Shorts 15”,  and contains an ominous incantation of radio spirits, masked by white noise and tinnitus-testing tones. Curious? Here it is:

Shout out to Radiophrenia and its organisers for a great event! What a phenomenon! 📻

Works For Loudspeakers #18

The Summer ’19 batch of the quarterly initiative Works For Loudspeakers by Australasian outlet Sonorous Circle includes a track by yours truly, which you can listen to here:

 

Works For Loudspeakers is “a quarterly listening party showcasing emerging and established composers. Every edition is different, and curated to give a platform for non-performative sound-based composition – music that would usually not have a public outlet.” Listening parties happen around New Zealand, and offer the audience a close listening experience, which sounds great if you ask me, in these days of extreme loudness and intrusive experiences we are living in 🙂

You can listen and download the current batch and the previous ones from the WFLS Bandcamp page, all downloads are name your price, and all proceedings go to support fund this initiative and the outlet that sustains it. Support local experimental music!

“Faversham” media coverage

Very thankful for all the blogs, radio programs and review sites that have considered “Faversham“, my latest release (and hopefully the first of many) collaborations with Australian-born South-Korea-based artist Leighton Arnold.

Getting attention to minor and obscure music albums is very hard in an over-saturated market, so I am extremely happy with an above-average coverage level for this release that has been slow-cooking for more than a year.

The fantastic outlets that have featured Faversham so far are, in alphabetical order:

Click on the links to go to the respective resources and check what they said about this release, this collection of dark soundscapes, occasionally sprinkled with hope (hint: it’s pretty good!).

Heartfelt thanks to all of them for supporting grass-roots experimental music! 🖤

 

Introducing “Faversham”

Well, it’s not a secret by now if you follow Subespai on Social Media, but early January saw the release of a collaboration between this amazing musician and even better well-being that is Leighton Arnold and myself, which we named “Faversham“, signed under our surnames (“Edo / Arnold”), released by the greatest chemical imbalance and with artwork from the outstanding jwptn.

A taste for ears and eyes:

I am really happy to have been able to release this. The story goes as follows:

  • Early 2017, I have never played live, but the itch is getting unbearable
  • I go to this concert in Sydney where Leighton is collaborating with a voice artist, doing his fantastic guitar stuff
  • Unlike me at all, I decide to approach him as I thought what he did was interesting, we have a good chat about glitchy pedals
  • After the gig, I research further about his work and, even more unlike me, decide to reach out to him via email for advice on how to further in my own musical explorations
  • A friendly back and forth starts with this email, from which I learn that he is based in South Korea and will be in Sydney for a little longer
  • He agrees to meet and jam, we go to a rehearsal studio down in the Marrickville suburb, specifically Faversham St.
  • He comes all prepared with his recording gear, then I learn recording bands is a passion of his
  • We play for over two hours, Leighton records the whole session, when we part ways, he mentions the topical “I’ll listen to this, if it’s any good I’ll let you know”.
  • Soon after that he leaves for South Korea, no plans to return
  • Months go by, we check up on each other here and there, he encourages me to do solo stuff, I start playing gigs and writing more music
  • Eventually he sends me a sample of the recording, which I find it sounds pretty cool
  • A new back and forth starts with the whole recording, to pick up good snippets that we can eventually turn into a release
  • Months go by, we check up on each other here and there
  • Eventually (late 2018) we land on 5 tracks, 41 minutes. We pick tracks and album names.
  • We involve Josh for the artwork, turns out to be amazing
  • We involve Mitch for the release, super-easy and straight-forward
  • Surprise! Leighton is coming for Christmas, we push for a launch gig which ends up occurring at the Gaelic Club on early January 2019, alongside great acts
  • The album is officially released on the 3rd of January on cassette and digital
  • And the rest you know already!

Right now, you can stream and buy the record at the chemical imbalance bandcamp page, here’s a preview of what you would get:

 

Amazingly, toneshift.net has reviewed it in blog post as well!

Convinced that this recording is a time capsule floating through space I’m completely mesmerized by the way it tells a story through electronics and sound samples. […] They know when to keep the reverb steady and somber, and when to blend suspicious effects that lend to the goings-on. […]

Hope you like it as much as I did getting it out and presenting it! And thanks for reading such long post ❤️