Experimental music is not supposed to affect one this deeply. But it does. In fact all of Malign does. Yes, like all good modern art it asks to be listened to on its own terms. Yet it does not push away but creates a place for the listener to go and to explore as it happens. Unlike too much ‘experimental’ music, it includes; it does not exclude.
Read the full review on The Orange Press.
Realtime Arts have posted a review of Sound Series #15, as part of their look into Sydney’s experimental music scene. We played this gig back in July at Hardware Gallery, Enmore alongside Textile Audio, Secrets and Toydeath, who were in fine form. On the night we played with Alex Slater on drums for the second time and Joe Cummins on trumpet as usual. I feel that we may almost have a regular line up now at long last with these awesome players. Anyway here’s an excerpt from the review.
Forenzics have been around since 2005 but I hadn’t heard them play. With Matthew Syres on guitar and way too many effects pedals, Dirk Kruithof on lead guitar, Joe Cummins on trumpet and Kaos pad and Alex Slater on drums they play loose yet utterly cohesive improv inflected with jazz, rock, drone and psychedelia. Joe Cummin’s trumpet loops and soaring melodies are a particular highlight creating a smoky, sensual atmosphere and the rhythmic interplay, pushing against the metre with loping rubatos, gives the sound an intriguing elasticity. It occurred to me that music is best when it picks you up and takes you somewhere you didn’t know you wanted to go, and Forenzics did just that.
Gail Priest, Realtime Arts, Issue 104, Aug-Sept 2011
For the full review of the entire gig and also a look at The Now Now’s show from round about the same time, go to Realtime Arts website here. The images from the gig are taken by Lucien Alperstein, Sound Series’ official photographer.
Thanks to everyone who made it down to the Static and SIlence Album Launch, we had a blast! Defektro started off the night in great style with his solo noise show – moving from ambient to drone to full on noise with the aid of bizarre hand crafted instruments played through his huge array of effects. Very very impressive. Check him out if you get a chance!
Following up we had the experimental noise pop of Newcastle’s Crab Smasher, definitely a band after our own hearts, playing an intense and almost punk inspired (post-punk anyone…) set with drums, guitar, bass, keys and occasional vocals.
Varlets were next and made a hell of a lot of noise for a two piece playing a very short crunchy crowd pleasing set with drums, guitar and mixing desk (yes mixing desk…).
We were last up and I could not be happier with our show, I felt we really gelled and were as together as we’ve ever been playing experimental improvised music in Forenzics. Thanks to everyone who hung around to the end of our set, I know midnight is pretty late on a school night.
Also thanks to Sue at the Excelsior for booking us, Dylan for mixing us, Tim for his lighting wizardry, Ed for his video work, and Michelle for the thankless task of selling our stuff on the night.
I’ll be posting some video and possibly a link to a review over the next few days.
Once again thanks for making it such an excellent night!
We’ve finalised the line up for the album launch with the addition of the excellently noisy Defektro from Japan, founding member of the infamous Defektro Noise Army. He’ll be starting at 8.30pm sharp so don’t be late! Also adding to the mayhem will be Crab Smasher from Newcastle, local lads Varlets and of course Forenzics, for this performance consisting of Matthew Syres – guitar, Dirk Kruithof – guitar/vox, Joe Cummins – Trumpet/Kaoss and Evan McGregor – Drums.
All the other details are still the same: Wednesday 17th February, The Excelsior Hotel, 64 Foveaux Street, Surry Hills, 8pm to midnight.
So if you like noise/drone/improvised/ambient/experimental or just plain f**ked up music then this is the gig for you.
Cyclic Defrost gave H3O the once over. Here’s an excerpt:
Forenzics appeals to a tuned ear, one familiar to the art rock world, high on minimalism, completely rebelling against the structured codes that their chosen instruments lend, yet succinctly reveling in their wielding. Providing powerful new landscapes of sound, abstracted estranged music that is becoming uncannily familiar and growing fonder in the ear of this ‘noise’ avoider.
Check out the complete review at http://www.cyclicdefrost.com/blog/?p=3012