Archive for the ‘Music & Sound Art’ Category

“Strings [Lines of Flight]” (Photocopies, 1999)

Friday, December 3rd, 1999

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“Individual or group, we are traversed by lines, meridians, geodesics, tropics, and zones marching to different beats and differing in nature. We said that we are comprised of lines, three kinds of lines. Or rather, bundles of lines, for each kind is multiple. We may be more interested in a certain line than in others, and perhaps there is indeed one that is, not determining, but of greater importance… if it is there. For some of these lines are imposed on us from outside, at least in part. Others sprout up somewhat by chance, from a trifle, why we will never know. Others can be invented, drawn, without a model and without chance: we must invent our lines of flight.” (Gilles Deleuze and Felix Guattari, A Thousand Plateaus)

From a larger collection of photocopy works, two of which were used as the album cover for Jeff Henderson’s “Fuck You You Bureaucratic Fucks” recorded live at “Wayfarer Gallery Presents: A Festiva of Enjoyment” (Enjoy Gallery, 2002) and released by Postmoderncore Records in 2004. Henderson is a free-jazz/drone saxophonist from New Zealand, who I highly recommend checking out. Some of these prints were also included in the exhibition “Dick Whyte: Retrospective” (91 Aro Street Gallery, Wellington, 2005).

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“Wireless” (Folk Album, 2003)

Monday, December 15th, 2003

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Recorded live to air on Massey University’s Munt FM in 2003 by ‘The Deprogrammers’ (Sam and Smiley Stephens). Featuring Robyn Kenealy’s lovely voice on Lamplight. Everything else played and sung by Dick Whyte and his Golden Guitar. Released on CD by Postmoderncore Records (where you can also listen to it, or download it for free). Also available via the Internet Archive.

“Richard (Dick) Whyte comes from New-Zealand, as does the excellent label Postmoderncore (which is one of the first labels in the world to have adopted a license of free diffusion). He is a songwriter of very first order, who plays songs on a wobbly guitar, and sings with a sincere voice, expression and heart. I spent this sleepless white night listening to the songs off his CDR Wireless recorded live on the radio. Let’s go again for a track which excites my brain and tears the hairs off my beard: ‘When you Decide’ (sounds country-folk à la Ryan Adams).” (Dana Hilliot, Songs to the Sirens, translated from the original French)

“A talented folk and country performer who has been performing his ever increasing song book of originals and favourite songs for some years. His powerful and flexible voice and keen sensibilities on the guitar make him always worth seeing.” (Sam Stephens, Postmodern Records website)

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“Right Here With You – Dick Whyte and his Golden Guitar” (Live Performance, 2005)

Tuesday, December 6th, 2005

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Live performance by Dick Whyte and his Golden Guitar at the Aaron Laurence Gallery in 2006 (camera: Aaron Laurence).

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“Stories and Songs” (Folk Album, 2005)

Friday, December 9th, 2005

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Country/folk album recorded at various times and places between 2002 and 2005. Robyn E. Kenealy sings on The King and Maybelle. Dean Brown (a.k.a. Lil’ Skull) produced You Be Welcome and Way Over Yonder, and played percussion on Way Over Yonder. Rick Jensen recorded Dirty Old Townes live in his lounge. Everything else played and written by Dick Whyte and his Golden Guitar. Includes tributes to both Townes van Zandt and John Fahey. Download the full album for free (in flac or high quality mp3) from Bandcamp.

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“Memphis” (Digital Painting/Album Cover, 2007)

Tuesday, December 25th, 2007

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“There is no history to tell us of the beginnings of Memphis, only legend. It’s legendary founder, Menes, may have been one or several of the shadowy figures whose identity has never been established. Menes however… has been acknowledged through the centuries as the first ruler of Egypt. Before his time, the country was divided into Upper and Lower Egypt, each separate and distinct from the other and largely made up of independent kingdoms. Menes united these into one undivided Egypt.” (Marion Teena Dimick, Memphis: City of the White Wall)

This image was later used as the cover for the third Nova Scotia album Memphis (Ikuisuus Records, 2008). Nova Scotia are an experimental noise band from New Zealand comprised of Rick Jensen, Dean Brown and Dick Whyte (also featuring a guest performance by Antony Milton on this recording). Click here to listen to excerpts from the album. Find out more about Nova Scotia.

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“‘Memphis’ is a consistently flowing top-shelf example of how electronic and acoustic sources work together in improvised music today. It’s nearly impossible to not mention the classic example of AMM’s pioneering work in this field or the more contemporary efforts of Evan Parker’s group settings, even if Jensen’s reed work owes more to someone like Jon Butcher. The interplay between Jensen’s multiphonics and ornamental work and the brass-playing on the opening track is almost Scelsi-like amidst the drones and looped sounds from Whyte’s guitar and the other subtle sonics. Some truly sublime and captivating music. “Rosetta Stone Paperweight” features more feedback and the sort of scraped sound aesthetic found on “AMMusic” circa 1969, but perhaps with a more sensitive set of ears. This is not improvised music of reckless abandon, but carefully crafted abstract soundscapes of the most deliberate nature. The dynamic interplay gets a bit sloppy in moments but really exposes how in touch these cats are with one another in the moment.” (Heathen Harvest)

“The recordings were done at 2 seperate gigs at Photospace Gallery in Wellington, NZ. I exhibited at the gallery twice and we began performing there quite often (the owner even played drums for my group The Rick Jensen Trio). Nova Scotia played a number of times there as the environment was particularly suited to us, outside was the main street in Wellington, where everyone would go drinking at night. It was all nightclubs and bars, buskers and drunk people. When we performed we’d open the windows and use any street sound that came through and integrate it into our performance. For the track that features Antony, we played a gig with him and then invited him to join us, it turned out to be an unusual song. All of the performances we did at Photospace had a particular feel to them, and we certainly developed our sound a lot with these gigs. There’s not a lot more to say about them, at this point we were using many homemade instruments, broken electronics, 4 tracks, and anything we had at hand. This album represents a highly experimental period for us and shows the way we were going at the time.” (Rick Jensen)

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“John Cage – 4’33” [May ’68 Comeback Special RECON]” (Video Art, 2010)

Wednesday, June 9th, 2010

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Reconstruction of John Cage’s 4’33” using 68 YouTube videos of people performing the piece on a variety of instruments. Part of the ongoing RECON project. Many thanks to Rhizome.org and C-Monster for featuring this work recently.

“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” (John Cage, Experimental Music)

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“MEND” (Tao Wells and Dick Whyte, Supercomposition, 2010)

Saturday, July 3rd, 2010

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The concept is simple, take two bands which are characterized as opposed (culturally, personally, ideologically) and superimpose a song from each band on top of one other (mending the rift). Concept developed by Tao Wells and myself one weekend in New Plymouth and eventually spawned my Britney Spears Best of Noise solo project.

These are not ‘remixes’, though we are interested in their relation to remixing. We have simply laid two songs on top of each other (a rhizome, a remedy) in the hope that there will be moments of connection between the layers. The points at which these two layers touch (caress) offer moments of “mending.” While mixing makes use of the cut, mending makes use of care.

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Music Video for Cory Arcangel’s “Iron Maiden’s ‘The Number of the Beast’ compressed over and over as an mp3 666 times” (Video Art, 2010)

Tuesday, August 31st, 2010

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Music video I have been working on for Cory Arcangel’s fabulous “Iron Maiden’s ‘The Number of the Beast’ Compressed Over and Over as an MP3 666 Times.” Predictably, I have simply taken the official video for Iron Maiden’s NOTB and compressed it over and over as an MP4 666 times. However, unlike Mr. Arcangel I don’t know shit about computers so have had to manually compress the video, which is taking a LOT of time. For this reason I have currently only done 66 compressions, but I liked the results and thought I would put it up as a “work in progress.” Thanks to David Wilkie for reposting this on Tumblr.

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“Britney Spears + The Dead C = HOT” (Rhimix, 2010)

Monday, September 20th, 2010

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Minimalist musical mashup superimposing The Dead C’s “Suffer Bomb Damage” over top of Britney Spears’ “Radar.” The Dead C (Bruce Russell, Michael Morley, Robbie Yeats) are a seminal free-noise band from New Zealand. Part of the ongoing Britney Spears Best of Noise project. Many thanks to Abulafia: Electronic Folk Music for featuring this on their blog. The first 8 tracks of this project were released on the concept album Britney Spears + Noise = HOT. Download the full album for free (in FLAC or high quality MP3) on my Bandcamp Page.

“That there is an area between other forms of music where all of the “rules” which hold them apart cease to apply. All musics bleed into this Empty Quater, some exist more within, and some more without, its bounds.” (Bruce Russell, Free Noise Manifesto)

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“Britney Spears + Pierre Schaeffer = HOT” (Rhimix, 2010)

Friday, October 1st, 2010

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Minimalist musical mashup superimposing Pierre Schaeffer’s avant-garde composition “Cinq Etudes De Bruits: Etude Violette” over top of Britney Spears’ “Toxic.” Schaeffer is a composer and musicologist who was instrumental in pioneering musique concrete as an art form. Part of the ongoing Britney Spears Best of Noise project. The first 8 tracks of this project were released on the concept album Britney Spears + Noise = HOT. Download the full album for free (in FLAC or high quality MP3) on my Bandcamp Page.

“So these were the three circumstances that compelled me to experiment in music: I was involved in music; I was working with turntables (then with tape-recorders); I was horrified by modern 12-tone music. I said to myself, ‘Maybe I can find something different… maybe salvation, liberation, is possible.’ Seeing that no-one knew what to do anymore with DoReMi, maybe we had to look outside that… Unfortunately it took me forty years to conclude that nothing is possible outside DoReMi… In other words, I wasted my life.” (Pierre Schaeffer)

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