Sheets of Sound is Louise’s latest solo project, featuring two new commissions composed by Annie Hui-Hsin Hseih and Matthias Schack-Arnott. Sheets of Sound diversifies the sonic possibilities of metal, paper, plastic, skin and electronics. This tactile sound world is paired with instruments and objects carefully and spatially arranged. An invitation to discover new percussion music, Sheets of Sound is a curious exploration of the intersection between sound, performance and installation. Produced by Tura New Music.
Premiere: 28 and 29 June, 7:30pm, Perth Institute of Contemporary Arts.
Pre-show artist talk: Saturday 29 June, 5pm
Music for percussion and electronics - solo
Louise’s monograph CD music for percussion and electronics represents the first three instalments of her solo recital series Music for One Percussionist, which commissions new works from Australian composers each year. Released on the Tall Poppies label, this disc features works by Kate Moore, Cat Hope, Stuart James and Andrian Pertout. Each work explores a different metal percussion instrument: vibraphone and stereo tracks, tam-tam and subwoofer, glockenspiel and tape and bossed gongs and live processing. In 2018, the album was reworked into a new solo show including live video projection design by Ross Karre, that was toured and produced nationally by Tura New Music.
This Decibel concert featured works which engage the turntable and vinyl record as sources of musical material in their own right, beyond the turntable as a machine, and the vinyl record as a container for a complete, recorded piece of music. Since the invention of the gramophone in the late nineteenth century, composers have experimented with using the player and records in their music: as instruments, scores and sound materials. Directed by Cat Hope, Decibel performed works by The Velvet Undergraound, Cage, Knížák, as well as new commissions for records and ensemble by Hope, Ross Smith, Vickery, De Groot.
Never Tilt Your Chair Back on Two Legs - The Sound Collectors
Australia’s leading theatre-music percussionists Devenish (WA), Scholes (Vic) and Tomlinson (Qld) respond to one of the genre’s most seminal works, giving the Australian premiere of Mauricio Kagel’s Dressur 40 years after it’s world premiere. Dressur is paired with a new theatre-music work by Kate Neal titled Never Tilt Your Chair, that creates a shimmering sonic landscape using over 100 pieces of cutlery. Arranged to echo a formal domestic dining room, newly built instruments including a percussive chandelier made of antique flatware, custom-built racks of tuned cutlery and a table set with crystal glassware played using serrated knives, this work comments on the labyrinth of rules associated with western dining table etiquette.
The Past is Singing in Our Teeth
The Past is Singing in Our Teeth was an installation exploring a fictional past reinvented in the absence of women’s histories by McMillan. Using sculptures, silk printing and video, it imagines a lost archives of women’s knowledge, triggered through recovery of sacred objects and landscapes. A new solo percussion score using shorthand typing as a basis for digital graphic music notation by Cat Hope served as a guide to my performance in one room of the installation: a salt-covered floor, in the centre a sculptural percussive tree hung with bronze and plaster casts of clenched fists, hagstones and ceramic pipes collected from the banks of The Thames. McMillan designed a performance dress with pockets from which objects were drawn to use as instruments or implements for sounding. Premiered at The Bethanien, Berlin.