Name: CeeBop by scoxrox in Dancing About Architecture
Duration: 3 min 21 s
Description: Made while recovering from Covid-19. I hope it sounds at least a LITTLE wonky.

Such a charming piece. Also dang sorry to see that you got infected with Covid-19 I hope you are feeling much better now!!!

Dancing About Architecture

Siba Dub Plate - From The Brüknahm Project LP
Overtime Records Inc./Knitting Factory (2002)
Rereleased Overtime records Inc. /Dinamyte Productions (2011)

Siba Dub Plate-Brüknahm Project

One.

Or zero.

Or maybe both. Who knows?

Qubit

Connoisseur of Experiences

« Language gap » que l’on traduirait par « barrière linguistique » ou « fossé du langage ».
Voilà qui caractérise et achève prématurément ma rencontre avec Mat Ward (@no-mates-ensemble), musicien Australien des plus dingues dont je suis le travail depuis plus de 10 ans.
Il est rare de connaître des créateurs qui, bien que monstrueusement éloignés géographiquement, vous donnent le sentiment d’une proximité de goûts, d’un partage d’une même curiosité, la même excitation de transformer des influences communes - autant de points de ralliement que vous seriez en peine de dénicher, même, chez vos amis les mieux établis ou les membres restreints de votre propre famille.
Une longue période, donc, à écouter / commenter / analyser nos opus respectifs, à nous rassurer dans les moments d’agacement / de rancœur de n’attirer jamais un cercle d’oreilles plus attentives, à nous encourager dans les périodes où il nous semble que nous n’avons plus rien à dire…
Des mots, des phrases qui annotent les formes d’ondes de nos morceaux publiés sur Soundcloud. Le temps laissé à la réflexion et l’aide de traducteurs automatiques en ligne ; l’exercice est confortable.
L’échange est bien plus périlleux lorsque, chairs et os, l’on se décide à enfin se rencontrer.
A l’occasion d’une résidence artistique, Mat s’extrait enfin de son Australie et séjourne à Paris. Et ce sont 15000 km qui doivent se compacter en une parole jaillissante.
Autant vous avouer que ce fut bien raté. Pas foutus, l’un comme l’autre, de réaliser un assemblage franco/anglais explicite. De longs silences, beaucoup de frustrations. Je me rappelais soudain la gêne que j’éprouvais à communiquer en vain avec ma grand-mère devenue sourde.
Chienne de vie !
La conclusion implicite fut que nous ne communiquerons jamais mieux, à l’avenir, que par le partage à distance de fichiers sonores…
Voici donc une première concoction commune ; en espérant que nous arriverons à constituer un album en fin de compte, si le temps et l’inspiration nous le permettent.
Je souhaite surtout que ce titre vous donnera l’envie de vous ruer vers l’écoute de ce musicien-monde de Mat Ward, cet homme-orchestre auto-suffisant et ultra-inventif qui a la bonté et la curiosité de multiplier les collaborations avec des musiciens aux esthétiques diversement marquées.
Ci-après, le lien précieux vers son Bandcamp :
https://nomatesensemble.bandcamp.com

Bonne écoute !!

Mars 2021.

Language gap

Language gap (Mat Ward & Fardeau Losange)

Wanted to redo all of errortons (this is amberton now) tracks so here’s the replacement for all the land
#deltarune #bigshot

€]€[J4VK 0F AL\_ TRAD3Z_>!>[ (A Self-Insert BIG SHOT)

Blueshift

s2p2 [Empathy Test Demo 2]

winter time festival fun in Tasmania- it was COLD and Dani and I thought we had been a bit pretty with our Live offerings lately so we decided to bring the noise for this little gig, so fair warning... there is some rude nosies ahead : ) Always a pleasure

Kirby/Ward LIVE @ Good Grief Studios/Dark Mofo festival

released in Jan 2025 - https://nomatesensemble.bandcamp.com/album/i-am-never-freer-than-when-i-am-with-you. 


Then She Reaches for the Gun was formed in 2021 by Mat Ward. At its essence is sound collage, Ward invites musicians, sound artists, poets and anyone interested to send him files to be used, abused and showcased ‘as suggested by the work’. They are not always musical but field recordings, spoken word, engine noises and drunken rants. Animals participate a lot too! The raw material is arranged with one phrase asking for the next in an alchemical and intuitive process that will most often feature dozens of tracks weaving in and out of each other, colliding, harmonising, arguing and laughing along the way.

Both the aesthetic and the compositional methods use what Frank Zappa called Xenochrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions.The work also features fragmented story telling with the human voice (in many languages) appearing unannounced throughout the tracks offering up snippets of thoughts, conversations, jokes and existential angst. The absurdity of humanities desperate claim to have any real understanding of its place in the universe is revealed through the recorded follies and genuine emotions of the artists. The project is a celebration of chance, diversity and community. It pays homage to all musical tastes and genres whilst maintaining a sense of humour and irreverence that is needed to stay sane in the climate of  21st Century contemporary culture.

Then She Reaches For The Gun is

Humans

Adam Meredith - Ford XD with XF front mods/Voice
Ambient Annie - Electronica/Field Recording/Voice
Andrew Harper - Field Recordings
Angostura Elwar -  2 x Behringer CRAVE analog synths/Yamaha P200 electronic piano 
Antonella Eye Porcelluzzi - Text/Voice
Ariad Music - Clarinet/Percussion/Piano
Axel Weiß - Electric Guitar/Robot Voices
Banalytic - Experimental Electronics
Belial Pelgrim - Digital Strings/Electronica
Brendan Corey Benson - Electric Guitar
Carolyn Wigston - Voice
Chicago Word Brigade - Electronica
Dan Hewins - Bass Guitar
Dane Renshaw - Drums/Voice
Dani Kirby - Keyboard/Piano/Voice
Dylan Banks - Intonarumori/Voice
Frank Wilke - French Horn/Trombone/Voice
Garbage Truck Disco - Drum programming/Electric Guitar/Joyous Pop Punk
Glenn Ward - Electric Guitar/Skyhooks
Hakan - Moog Voyager XL
Hverheij- Drums/Electric Guitar/Synth
Johnny Python- Bass Guitar/Drum Programming/Electric Guitar/Text/Voice
JZsuperstar - Electric Guitar/Field Recordings/Keyboards
Lady ElectroTrek - Organ
Libby Laksmi - Jazzy Loops/Synth Bass
Loop(c)y - Electric Guitar
Malo Bernard-O’Meara - Drums
Maxx Black - Guitar/Ukulele
Minimal Drone Girl - Cat Wrangling/Field Recordings
Oberlin - Eurorack/Piano
Paolo D’Emilio - Electronica
Paul Miller - Electronic Percussion/Keyboards/Phat Electro Bass
Phil Bywater - Saxophones/Voice
Raul Mainer - DAW Programming/Heavy Metal
Robert Jefferson - Akai Rhythm wolf/GakkenSX-150 ll/Korg Kaosilator/Percussion
Rosin Dust - Violin/Field Recordings
Sarah Megahertz - Speedway Noise
Scratch Kelly - Beats/Electronica
Stan Magendanz - Electronica
Ten Atmospheres - Field Recordings/Synths
Texmex Shaman - Electric Guitar
The Windscale Blues Experiment - Clarinet/Flute/Saxophones
Timothy Korstad - Demons/Electronica
Thomas Bergheim - Bass Guitar/Electric Guitar
Tobias Schmitt - Electronica/Processed Organ/Text
Tuonela - Demons/Electronica
Vartch - Drones/Things/Trousers (not T-shirts)/Voice
Widar’s Spiritual Front - Electronica/Ms Pacman
W:I:L-o’ the-wisp - Bass Guitar/Electric Guitar/Electronica
Wivresse - Electronica/Voice
Zanshin - Acoustic and Processed Drums

Mat Ward - Arrangements/Bass Guitar/Double Bass/Field Recordings/Intonarumori/Marimba/Noise/Percussion/Piano

Dogs
Boogie
Brophy
Buddy
Hancho
Jack
Momo
Neska
Poldo
Senna
Shyamsundara
Star
Oily (cat)
And many cows from Milis, Sardinia

Cooking Hard Boiled Eggs in a Cheap Motel In Adelaide part 3

Jihad

"Lester Left Town" composed by Brüknahm. (S.Wilson/S.Bardin-Greenberg) 
Off the "The Brüknahm Project" debut LP, on Knitting Factory Records (2002). 
Red Five Music (ASCAP)
LaVibe Music (ASCAP)

07 Lester Left Town

Far too much dancing and not nearly enough prancing.

Brüknahm

Better times are ahead, everyone. Until then, stay inside!

Parade

Made while recovering from Covid-19. I hope it sounds at least a LITTLE wonky.

CeeBop

The good folks at Vaatican Records have published another release of mine, "Persimmon Trees and Comic Books". Check it out here: http://gestrococlub.org/SCOXROX2.htm

"Stump Speech" is still available as well: http://gestrococlub.org/SCOXROX1.htm

I was recently featured on the Studio d'essai program on Brisbane's Global Digital radio broadcast: https://studio-dessai.github.io/2017/11/02/sdecv/

I was thrilled to be invited by S♨ciété Cantine to participate in an international collaboration with some of the finest experimental musicians on Soundcloud: 
https://soundcloud.com/societecantine/theyve-found-a-flying-saucer-in-my-stomach-an-international-exquisite-corpse

Be sure to check out "Star Stuff",  an hour long mix of my more quiet and contemplative tidbits culled from years of messing about with bits.

I have some older sets on Mixcloud: https://www.mixcloud.com/scoxrox/ The first one, "Bumper of Life" is particularly special to me.

Steve Cox is a Hudson, Ohio based information technology professional who has been obsessed with music for his entire life. Though he quit formal music education in the 6th grade, he began banging on pianos and recording crude tracks using 2 Panasonic portable cassette recorders and overdubbing in the early 80s. In the 90's, he recorded a bunch of original MIDI compositions consisting of sequenced loops and live improvisations. The album, called "Steve Cox Vol. 1", is so legendary and underground that it cannot be found anywhere. Steve himself probably doesn't even know where it is. Starting in 2009, it became apparent to Steve that people were charging pennies for iOS Apps that provided more power and functionality than thousands of dollars in electronic gear did only a few years ago. A new creative burst ensued, and Steve reinvented himself as an iOS musician.

Steve calls himself a "recovering jazz snob". Indeed, until the mid 2000s, you probably couldn't talk to him about music unless you knew who Don Pullen or Phineas Newborn, Jr. were. A few years ago he discovered the music of Steven Ellison (aka Flying Lotus), and came to an epiphany that good music had in fact been made after 1972, lots of it even.

Steve cites the following influences:


Louis Armstrong, Duke Ellington, Harry Belafonte, Charles Mingus, Wendy Carlos, Joni Mitchell, Joe Zawinul, The Eagles, Henry Threadgill, Peter Brötzmann, John Coltrane, Albert Ayler, Ken Vandermark, Prince, Miles Davis, Don Pullen, John Zorn, Paulo Moura, Pixinguinha, Pachora, Marc Ribot, The Boredoms, Yes, Otomo Yoshihide, Merzbow, The Beach Boys, Liberation Music Orchestra, Orchestra Baobab, Aether (aka Diego Chavez), Art Ensemble of Chicago, John Cage, Rahsaan Roland Kirk, Flying Lotus, Flying Luttenbachers, Public Enemy, Ametsub, Pat Metheny Group, Daedelus, Olivier Messiaen, Steve Reich, Sigur Rós, Hermeto Pascoal, DJ Shadow, Yamantaka Eye, Autechre, Sergio Mendes, Burial, Evan Parker Electro-Acoustic Ensemble, Galt MacDermot, J Dilla, Lester Bowie, Beirut, Art Blakey, Clifford Brown, Arvo Pärt, Mahavishnu Orchestra, Krzysztof Penderecki, Herbie Hancock, Bill Frisell, Himuro Yoshiteru, Art Tatum, Hudson Mohawke, Last Exit, Marco Benevento, Pere Ubu, Nosaj Thing, Prefuse 73, Rovo, Sonic Youth, Zs, Jim O'Rourke, Gang Gang Dance, Tim Berne, Madlib, Four Tet, Dimlite, Count Basie, OOIOO, Muhal Richard Abrams, Weather Report, Derek Bailey, Merle Haggard, Edgard Varèse, Sidney Bechet, Steve Lacy, Sun Ra, Jim Brickman, Buckethead, and Parliament

CeeBop

scoxrox

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No Mates Ensemble

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