unknown source 1

five below v1

pulling teeth

buy LP/digital at nicemusiclabel.com & nicemusiclabel.bandcamp.com

You Can’t See Speed is a limited-edition vinyl accompanying the artist’s major solo exhibition at the Australian Centre for Contemporary Art. Attending to the interconnected and multisensory experience of film beyond vision, You Can’t See Speed features vocal resonances and spoken descriptions written and recorded in collaboration with participants from Stefanou’s film works, alongside music composed by the artist. A cacophony of lived experience, oral storytelling, and vocality.

The B-side centres a collaboration with blind motorbike mechanic and rider Matthew Cassar and composer Joseph Franklin. Anchored in ideals of trust and experimentation, the work traces Cassar’s journey through high-performance dirt bike riding as a surrealist voyage of adrenaline and self-actualisation. In his own voice, Cassar reflects on the layered worlds—both on screen and within—where ‘image meets experience’. Cinema becomes sensorium, as singing, thrumming, electronically mediated dirt bikes, outer-suburban field recordings, exhausted vocalities, hymns, trumpets, harmonics and grain converge in a rush of sonic and embodied image-making.

More about the main exhibit at ACCA Melbourne;

You Can’t See Speed contains an intense, immersive soundscape that is played throughout all of ACCA’s gallery spaces, bathrooms and foyer. Some audience members may find this uncomfortable.

Earmuffs and ear plugs are available for use in the space, and we encourage you to bring your own headphones for noise relief, if applicable.

ACCA is providing quiet sessions from 11am – 12pm daily for audiences with sensory sensitivities.

Australian Centre for Contemporary Art is pleased to present the first major solo exhibition by Tina Stefanou, a Greek-Australian artist who works with experimental forms of performance, film, sound-music, sculpture, ethnographic research and socially engaged practice.

Tina Stefanou: You Can’t See Speed attends to the interconnected and multisensory experience of film beyond vision. The exhibition continues Stefanou’s interest in the voice as medium, from spoken sonic soundscapes to vocal techniques such as humming. It also expands on her methodology of deep, long-term, co-creative collaboration and socially engaged practice involving interspecies-communal-performance making and breaking bread (or grain). Her diasporic, working-class ethic and approach to making challenges institutions of power and capitalistic logics, embedding the commons – from the planetary to the everyday – within her life and work.

The exhibition centres a collaborative new film commission with blind motorcycle mechanic and rider Matthew Cassar. Concerned with the ideals of collaboration and trust, coinciding with Cassar’s journey of riding dirt bikes in high performance contexts, the work follows Cassar along a surrealist voyage of adrenalin and self-actualisation. Accompanying the film is a large-scale, site-specific stunt ramp emblazoned with totemic, ritualistic symbols and sounds such as evil eyes, crystals, and melismatic singing. Designed to protect from and ward against threats, both imagined and tremendously real.

Alongside the new commission, Stefanou presents a modified configuration of cinematic performance works. Featuring rural and regional collaborators, the films form a complex ecology of multispecies and class realities, and rural poetics, from migrant, farmer, and youth perspectives. Multiple screens are scaffolded by a field of sculptural materials, from wax casted horse-hooves to found agri-materials, which trespass across the galleries shifting them into a metaphorical nervous system made up of all-too-human, animal and machine parts.

read more at nicemusiclabel.com and at the buy link above

You Can't See Speed

BUY/LISTEN

Tina Stefanou 'Untitled (Environments)'

1) Elephant9 – Rite of Accession
2) Dead Kennedys – Nazi Punks Fuck Off
3) Buttress O’Kneel – A Bloke Who Likes Cold Chisel
4) Ashenspire – Cable St Again
5) Hatfield and the North – Fol De Rol
6) Pryapisme – Un Max de Croco
7) 011668/S280F – FKA Twigs - holy terrain (00168 edit ft. Betty Apple - "The Rubber Mermaid") / 011668 - untitled fish (ft. Kuthi Jin / S280F) 09:39
8] Duevilsgrot – When I Die I Want My Face To Be Eaten Off By My Cats
9) Grist – The Unbuckled Bones 
10) Wardruna – Heimta Thurs
11) Wardruna – Thurs
12) Prophets – Ultimate Jamming
13) FAT32 – Ziion-Ponk Part 1
14) Corin – Nadir
15) Peril – Left of Centre


Radio Earthling 01-09-2025 𝔊𝔢𝔱 𝔡𝔬𝔴𝔫 𝔬𝔣𝔣 𝔱𝔥𝔢 𝔣𝔢𝔫𝔠𝔢 𝔟𝔢𝔣𝔬𝔯𝔢 𝔱𝔥𝔢 𝔟𝔞𝔯𝔟𝔢𝔡 𝔴𝔦𝔯𝔢 𝔤𝔬𝔢𝔰 𝔲𝔭

Make Something Happen

Mare Island is an avant-garde ritual of memory, corrosion, and endless watch.
Recorded with the Strandberg NX-8, 12-string acoustic, electric bass, Moog Mother-32, glockenspiel, voice, and world percussion, it channels the desolation of decommissioned shipyards and the eternal labor of dry-dock silence.

Built on fractured rhythms and improvised vocal invocations, the piece explores collapse as form and presence as vibration — a reflection of both Mediterranean futurism and submarine exile.

Recorded at the Fish Ghetto Recording Research Laboratory, Orlando, Florida.
Part of the HY-80 continuum: pressure, decay, and sacred dissonance

Mare Island

shine

Cognitive Avoidance Will Be The Death Of Me....

freedom of choice

А у володи мать жипрекрасная женщина))

Vibrational Monism

 All phenomena arise from a single, continuous vibration… structured through binary events (on/off, presence/absence) across time…This vibration is perceived contextually as music, matter, or memory, depending on its frequency, duration, and relational pattern….

Everything exists as modulation within one underlying pulse….

Joseph Shippee composes across avant-garde classical and aleatoric metal. His doctrine is rule-bound chance over a fixed pressure grid: one chain kept bone-dry; silence treated as structure. Using 8-string guitar, frame/hand percussion, and analog synthesis, he builds works that move between density and void, structure and decay. All pieces are developed at the Fish Ghetto Recording Research Laboratory—his hybrid ceremonial studio—within a Modern Mediterranean Post-Industrial Futurist aesthetic: stone, rust, and sea light rendered as tone. Rooted in Vibrational Monism (B♯), the music treats sound as a single continuum shaped by events of presence and absence—ritual mechanics and controlled collapse defining the form.

South Coast FM Radio. South Gippsland, Bass Coast & beyond, Australia

nicemusiclabel.com Naarm/Melbourne, Australia.

No wave bi-weekly @hkcrlive

@violet-vermin
@gladonebywho
⠀⠀⠀⠀

Work in Progress. Deployment soon: Limit 1 -> Reduplication (Matrioshka) ~21 minutes?

New tracks tagged #avant garde