Sensory Soundings: Two responses through experimental music

CCP is pleased to invite experimental sound artists, The Overtone Ensemble and Badskin to create unique sonic responses to the work in our current round of exhibitions: Polar Convergence and 23° and Rising. Please join us for a late afternoon of sensory experiences as the exhibitions take on a new presence through the addition of responsive, live sound works.

The Overtone Ensemble
Tim Catlin, David Brown, Philip Brophy and Atticus Bastow

Tim Catlin formed The Overtone Ensemble in 2012 to perform using his self built “vibrissa’ instruments, which are longitudinally stroked by hand to produce a sustained singing sound.

The group create drone-based, immersive soundscapes, a liminal zone where acoustic instruments vibrate with eerie electronic verisimilitude and familiar instruments sound strangely alien. The overall effect is of a shimmering sound field full of internal movement, strange harmonies and pulsating beauty.

The Overtone Ensemble have performed at festivals such as Mona Foma , Slow Music, NOW now, Sound Out, and Liquid Architecture as well as various galleries and clubs. Group members have a long history of involvement in experimental music, sound art and improvised music both within Australia and internationally.

Badskin
C.M. Oliver is a guitarist and composer based in Melbourne, Australia. Her project, Badskin, engages aspects of the self, belonging, and the ways in which these states of flux seek an anchor.

Her recent debut album Where Was I is a thick description of this field of inquiry, from the amniotic rainforests of her home in North Queensland to the gaudy drones of Melbourne. There is an audible struggle between the varying densities of these two locations as they meet in ceremonious recollection.