Listen to "The Only Hope" (mp3 format 1.49mb)
Listen to "Destiny" (mp3 format 1.89mb)
"Here is my room.
Oblivion is corroded and silence has grown old.
Enter with candles;
This room is a lair carved from the breast of darkness.
Walk very slowly or you may frighten the dust and the spiders.
Near my broken cup … a bundle of papers:
Between covers a lifetime is scattered.
Take them, they contain my youth.
Read them, don’t deny me immortality.
Publish them, don’t let me die!"
These words by Syrian poet Umar Abu Rishah inspired Linsey to compose a musical work based on the poems of refugees.
When we read these poems, we are entering another country - a shadowy, unfamiliar country with its own laws, language and borders. It is a place where innocents are locked up for years without charge, without trial, without hope, where children live behind razor wire without trees or dreams. It is a country where people sew their lips together in acts of courage and despair, and the fostering of hopelessness is law and the breaking of the human spirit is official policy. This is a country where people, driven mad by despair die by their own hand, or slowly day by day, as the years wear on. It is a country where mercy has no place and children have died of grief.
The writers who inhabit this country have their state of exile in common. Some are detainees who are 'called to write' in an urgent attempt to reach the outside world and to express their suffering and pain, some are ex-detainees who are still trying to come to terms with their experiences in the camps. There are journalists, playwrights, fiction writers, poets, cartoonists whose escape from tyranny in their own countries has made them strong enough to speak out eloquently against injustice here as well. This is a nightmare country they're mapping for us, and it lies here in the heart of Australia.
- edited from Rosie Scott's Introduction to "Another Country" (writers in Detention)
The poets were:
Mohsen Soltani
Tony Zandavar
Hojatollah Mohammadi
Hassan Sabbagh
Daniel Alikhani
Mehmet al Assad
Leonardo Karakushi
Umar Abu Rishah |
The performers were:
Linsey Pollak on winds
Vocalists Ann Bermingham & Reni Pavlova – Bojilov
Saxophonists Ric Halstead and Brendan Hook
Percussionist Tunji Beier
with video design and camera - Chris Peckham
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It had a simple but strikingly strong visual presentation that features the words themselves through a video design by Chris Peckham who also was present in the performance mixing a live camera feed.
The words from eight refugee poets (featuring Mohsen Soltani and Tony Zandavar) were woven into the score and performed through song and spoken word. The score featured the sounds of “Lyrebird” (a wind synth) and live looping, Bulgarian influenced singing, saxophones and virtuosic percussion. These elements provided an aurally rich and exciting context for expressing the words of refugees.
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Making Jam is a solo show by Linsey Pollak. It’s for people of all ages, and as with many of Linsey’s previous shows it’s about making music from the things around us.
In Making Jam we get to hear flutes, panpipes and clarinets made from garden hose and bagpipes made from rubber gloves. We also hear music made from dental floss, carrots (of course), satay sticks and a music stand. Some newly created instruments will be unveiled such as “Raven”.
"I realize that the sound of AIR is very beautiful " - Korean mother
"It's the science of our life"
"The music can be created by not only musical instruments but also everything " - 11 year old
Seoul - Sth Korea
Woodford Folk Festival
Seattle International Children’s Festival
Vancouver International Children’s Festival
Tokyo
Australian Science Festival
Mercado Cultural – Salvador, Brazil
Brisbane Powerhouse - Powerkidz season,
Nissay Theatre Tokyo
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Click here to view "Carrot" movie
(windows media v9, 12.79mb)
(download latest media player)
Click here to view "Rubberglove" movie
(windows media v9, 4.3mb)
(download latest media player)
Click here to download high res version of this photo by Michael Baranovic
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Devised by Linsey Pollak
Constructed
by - Linsey Pollak, Steve Langton, David Murphy, Steve Weis and Mik
Moore.
In the magical forest, a musical fantasy emerges.
Throughout the ten days of the festival, all day and into the night,
strange sounds and wacky and wonderful instruments ‘grow’ in the
Rainforest Walk and Rainforest Lawn at South Bank. In this enchanted
musical playground, Queensland families experience a free, hands-on
sound installation created by Australia’s leading instrument makers,
sculptors and lighting designers. It’s an interactive musical
playground, and a chance for all Queenslanders to create their own
music deep in the heart of the forest.
Boing pipes are tuned percussive resonant tubes that use a
floating cap made from a plastic hemisphere as the struck surface
that excites the air column. First designed by Jon Madin, they sound
a bit like a thongaphone, but because beaters are used rather than
thongs, it is possible to play faster rhythmic patterns. This
installation features five separate instruments each with the same
pentatonic tuning.
The Benta is an African-Derived glissed idiochord zither from
Eastern Jamaica. It is a single string instrument (monochord) made
from a long length of bamboo and played by 2 people. One person
plays the instrument percussively with small beaters while the other
controls the pitch by sliding a gourd along the string (made from
the bamboo fibres). These are very similar but use a metal
string on a timber body and are just perfect for placing on a
walkway railing.
This simple instrument can provide hours of fun. It allows
people to jam together by each plucking a different length of
elastic cord. You control the pitch by the amount you pull the cord,
so that with a small amount of practice you can play melodies or
basslines or just come up with some damn funky rhythms.
These are like the bamboo boings already mentioned, but the
tubes are smaller and made from aluminium.
Sing into the bamboo tube and your voice is electronically
manipulated. Your own voice determines the pitch of the note but the
tonal quality of the sound that comes back to you through another
bamboo tube is totally different.
These water chimes are made from aluminium tubes which change
pitch when moved up and down in the water depending on how deep they
hang in the water.
This
instrument is a digital tuned percussion instrument. It is setup
like a xylophone or marimba with 12 notes but the sounds are
produced by a digital sound module that responds to striking the
individual pads on the railing.
The Pole Harp is made from a Hoop pine pole with steel
strings running along its length. It is a giant version of a
traditional harp from Madagascar which is much smaller and made from
bamboo.
This is a digital sound installation where you can trigger the
sounds by jumping on the Lilypads on the boardwalk. Contact
microphones transform the vibrations into electrical impulses which
are then transformed into digital information and then converted
into sounds by a digital sound module.
This metal tree fern makes a variety of sounds when stroked and
struck. Tjhe metal vibrates and the overall metal structure
creates it’s own reverberation. The sounds are amplified by a
small amplifier, but apart from the increase in volume all the
sounds you hear are inherent in this beautiful metal instrument.
Marimbas are found thoughout the world in various forms,
particularly throughout Africa and in Asia and South and Central
America. Marimbas come in many different forms and with a huge
variety of different tunings. The marimbas in this group were made
to show just a few of these different tunings:
1. Wagogo tuning -
Tanzania. 2. Byzantine Greek Hidzaz. 3. Javanese Pelog. 4. Sundanese
Slendro. 5. Gambian Xylophone. 6. Ghanaian Xylophone. 7. Ziraf-Kend
- Medieval Arabic. 8. Western equal tempered diatonic.
This bass marimba has PVC resonators which each have a buzzing
membrane. These membranes are made from plastic shopping bag.
Traditionally in various African and central American traditions the
membranes are made from materials such as spider egg shell and pig
intestine.
The
Trifficone is a lamellophone with steel tongues arranged as flowers
that create sound when plucked. Each blossom provides an independent
instrument enabling a number of people to play the Trifficone at
once. It has been propagated in the same Sound nursery as the
Treefern - “The Wonky Bar Kid Imaginarium”.
Five
giant hand woven plastic baskets act as low frequency resonators for
tuned aluminium planks. When hit, these ultra low frequency
vibraphone keys produce notes from 25 hertz up to 40 hertz....(have
you heard of the brown note?)
Inspired by the Korean martial art and Japanese Taiko
drumming, this plastic and stainless steel giant gong set is hit,
punched or kicked to play bass drum patterns. Bring your elbow and
knee pads!
Using one of the totally new instruments invented in the 20th
century, this installation features inflated PET (polyethylene
tetrapthalate) soft drink bottles, tuned and arranged in one area.
When hit with chop sticks, these bottle bells produce a surprising,
infinitely tunable clear tone.
Wooden spoon shapes are clamped tight and tuned. When they are
hit with mallets or hands their sound is amplified by the
sympathetically tuned resonators held below them to produce a warm,
breathy sound. This is a totally new instrument, and the 2003 Sound
Forest is it's public debut. It's like a big kalimba or thumb piano
with resonators.
A standard family sized Hills Hoist is strung up with a variety
of wires to produce a wide range of musical pitches when they
are plucked or hit. You are invited to try on ear muffs that dangle
from the musical clothes line that are "plumbed" in to the sound
scape above, giving you personal direct access to the sounds.
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Glen Sheppard and Peter Rowe, are both young men using
facilitated communication (fc) to write the songs. (Put very simply,
that's using an alphabet board with the physical support of a
trusted support person). They are improvising the words as you watch
and listen, and these words are interpreted and sung by Terri
Delaney and Amy Hunter who improvise along with the vocal samples
played by Linsey.
Although there is a definite structure, "Horse to Water" allows
for much improvisation from this dynamic team. Musical
director/composer Linsey Pollak provides a basis with the live
looping of vocal samples using a digital wind instrument to play
sounds that have all been sampled from the voices of the performers.
This provides the bedrock upon which the extraordinary improvised
songs are based.
Fellow performers Davina Wilson, Ty Belnap, Alice Clarke and
Florence Teillet each add their own wonderful style and energy to
this emotive piece of music theatre. They also trigger the sampled
voices and words from their trays of water and the giant FC
board.
This group of unique artists take you on a journey from
isolation.... to discovery and connection. They explore the world
through unique perspectives that in the end highlight things common
to us all:
The need to be...to be heard, to be loved, to be seen,
to be a part of it all:
PAKTI (Power of Art: Key to Inclusion) Directors Terri Delaney
and Florence Teillet had a dream to team up with Linsey and a few of
their Top Moves Troupe cast to produce music to break new ground.
This production has done just that. |
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Music of our time is rich in new timbres, new textures and new instruments. Contemporary artists are pushing the boundaries beyond the physical limitations of traditional instruments, to explore new sounds from new sources. REV presents the very latest developments in experimental musical instrument making and performance - from installations designed for your interactive enjoyment to feature performances of the wild and wonderful.
The inaugural REV Festival is a project of the Queensland University of Technology School of Music in partnership with the Brisbane Powerhouse Centre for the Live Arts. REV brings together experimental musical instrument makers from around Australia, as well as key figures from abroad, in a world first event. REV will feature over 40 experimental musical instrument makers and sound/installation artists who cross all spectrums: Real, Electronic & Virtual.
REV Artistic Director Linsey Pollak has put together three days of intense activity, so use this guide to plan your program ahead. Each day starts with the opportunity to visit installations and exhibitions. Afternoon free indoor and outdoor performances flow into evening feature concerts, both roving round the building and utilising the two Powerhouse theatres. Visiting artists will give lecture/demonstrations to challenge your perceptions of musical instruments. Finally the Spark Bar becomes the late night venue until the small hours with "Fabrique", a showcase of contemporary electronica.
“REV provides an absolutely new look at the way music can be produced. It looks at New Sounds from New Sources. Sources that are Real, Electronic or Virtual. It looks at experimental musical instruments. And at REV the musical instruments themselves are the protagonists.
Music, and the technology for music production are inextricably linked and always have been, from when the placement of fingerholes in the first flute influenced the development of the tuning and temperament of that particular local musical tradition. People have always experimented with sound and the instruments that make sound, but we rarely get to hear and see many of those experiments. (And there have been many!) Particularly in a modern world driven by predominantly economic values and rampant consumerism the instruments that we get to hear and see are the ones produced by the multinational music corporations. But there's a whole exciting world out there where people are exploring all sorts of sonic possibilities with all sorts of building blocks. REV brings together some of those explorers, some of the sonic possibilities and some of those building blocks.
Basically we are creating a big Sonic Sandpit for both the maker/performers and you to play around in. And what a great playground we have, with the whole of the Brisbane Powerhouse at our disposal. Interactivity is a key to this Festival, so as well as the many exciting and varied concerts there are also over twenty installations that can be played by you as well as the workshops leading up to the Festival. It will also provide a long overdue forum for discussion among experimental makers and a great opportunity for these makers to meet, make links and dream new projects together. To this end we have invited both local, interstate and international sound artists from a variety of approaches and backgrounds. We hope that this will grow into an exciting, diverse and world renowned biannual event, that will in turn provide a seeding ground for other events and projects.”
Linsey Pollak - Artistic Director |
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“Foonki” is a street show from Australia with Linsey Pollak and
Jessica Ainsworth, plus a length of garden hose, a rubber glove, a
rubbish bin and some watering cans.
A hilarious and profoundly musical 15 minute show that creates a
giant interractive bagpipe played by Linsey and 5 members of the
audience and accompanied by funky bent rhythms played by Jess on
watering cans and rubbish bin.
A circle is formed in the street with a garden hose.
Watering
cans appear from a rubbish bin and suddenly become a
crazy drumkit.
A handpump is attached to the end of the garden
hose and an audience member conscripted to pump up a rubber glove.
And so a bagpipe is created.
Other audience members will control
the 3 rubber glove powered drones which accompany the bagpipe
chanter and drumkit. |
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A barge that was part huge Brisbane Centenary of Federation River
Parade directed by Neil Cameron.
Linsey was Musical Director and
one of the barges was the Dream Barge that Linsey designed along
with Steve Weis.
Eight musicians worked in two teams of four
to play non stop music to half a million people as the flotilla of
barges was towed along the Brisbane river. The music was made using
samples of frogs, birds, boat horns and drum sounds that were
triggered by percussively playing twelve x 6 metre high bamboo
masts with long thin white sails. The whole barge was lit with ultra
violet light. |
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Linsey and Jessica Ainsworth (Linsey’s gorgeous friend, lover,
partner since 1986) play music using a WX5 wind synth and
SPD20 drum pads that are fed into 20 sets of headphones. Only the
people with the headphones can hear them. They usually performed
this at festivals and on the street. Taking their headphones to
European Street festivals in the European summer of 2000. |
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Ivan is a home-styled kitchenhand with a difference. He’s
eccentric, hilarious and totally irresistable. And he lives in a
musical world where all is possible....
From the moment that Ivan walks into the kitchen, everything
becomes musical.... carrots, potatoes, satay sticks, meat cleavers
and even an electric drill, with which he transforms a carrot into a
clarinet before our very eyes.
This musical world that Ivan creates is more than a series
of clever tricks. It is an aural world of depth, energy and beauty.
Although the materials are disconcertingly simple, the music itself
is complex, rich and emotive, ranging from energetic and percussive
cross rhythms to haunting and lyrical woodwind (or should we say
vegiewind) melodies.
As with his previous solo show “Knocking on Kevin’s Door” Linsey
uses digital technology to record sounds instantaneously so that the
audience is able to see each piece being constructed layer by layer,
but in this show all the sounds come from the cooking utensils and
the food.
“The Art of Food” is an aural feast, an ode to the music of
everyday life, which is there for everyone who cares to open their
ears. |
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Click here to view "Art of food " movie
(windows media v9, 2.8 mb)
(download latest media player)
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Playpen was commissioned by The Out of The Box Festival,
directed by Michael and Marjorie Forde and produced by Performing
Lines. It toured to Sydney, Adelaide and Toronto.
Description:
“Playpen” is a performance for 3 - 8 year
olds and families. In this show Linsey is an 18 month old baby in a
giant Playpen. During the show we enter the imaginary and magical
musical world of “The Baby”. This musical world exists entirely
within the confines of the Playpen. It is a
world where everything has a musical possibility.
Inflatable toys become bagpipes, dummies become reed instruments,
baby bottles become panpipes, rattles become maracas and even the
bars of the playpen are triggered to create digital sounds.
The show is a mix of music from found objects and high-tech
digital technology. Using digital sampling technology the audience
is able to see and hear the music being constructed layer by layer.
In this way the process of making music is demystified (the
composition of the music is experienced as well as the performance).
The use of digital technology acknowledges that this is now a part
and parcel of our lives, but this is balanced by the creative use of
found objects as well as using the technology to de-construct the
music making process.
“Playpen” looks into the imagination and
creative mind of an 18 month old baby. We are not trying to
re-construct the mind of an 18 month old, but taking the essence -
the, as yet untamed, wild curiosity and experimentalism that a baby
has. It is experimentation without limits, as the creativity has not
yet been confined by adult conceptions and expectations of what is
possible (the “Let’s try anything approach”). What is interesting is
that this unlimited experimentalism will occur in the very severely
defined physical limits of “The Playpen”. In fact the Playpen has of
course been placed there by the adult world to limit this “unlimited
experimentalism”.
In “Playpen” the audience is being shown the
inner world of the baby - What the baby imagines or believes is
possible, rather than the reality of what is possible. The audience
is helped into the baby’s mind by “Teddy” who translates what the
baby imagines into real sounds. Teddy is a sort of interpreter and
is central to this piece. The “Imagination” in this piece is placed
firmly in the world of song and sound.
“Playpen” is also about creativity within
imposed limits (the playpen). You can often use limits to provide a
lateral diving platform for ideas, and so use those limits to spark
new ways of doing things. But limits can also often be self-imposed
and stifle creativity. This show is very much about the first of
these possibilities “creativity within limits”.
So “Playpen” is about: Music, Imagination and
magic, Creativity and limits.
Primarily the show is ultimately a musical work. It is about the
Joy and Wonder of making music. It is designed to inspire and
encourage children’s innate musical curiosity and experimentation
and most of all to be FUN!! |
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Click here to view "Playpen" movie
(windows media v9, 6 mb)
(download latest media player)
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………………a sensual and magical world created for the audience from
natural sounds, sampled sounds and digital sounds, ........
constructed entirely from bamboo.
Six performers musically explore this new world in which they
live as gatekeepers, caged birds, newborn and dying, subterranean
and flying, laughing and crying.. As sisters, as lovers, as twins;
as family and alone, they exist in a world of surreal beauty,
creating music from and within that world.The music springs from the
bamboo itself and from their very breath. This world is both natural
and real, digital and virtual.
Bim...BamBoo!! is designed to give a
strong visual basis to the music. Although this 45
minute show is music driven the sound is strongly linked to the
visual. The show is site specific and so the set is constructed
especially to suit the environment of the performance.
The
set itself is actually the source of much of the music. For example,
24 tall bamboo poles are triggered percussively to become a giant
keyboard played by up to five performers at once. There are other
natural sounds created from bamboo (both wind and percussion) as
well as the conversion to synthesised and sampled sounds that can be
controlled by two players at once. And of course the magic of the
human voice is the essential ingredient.
The six performers are: Linsey Pollak, Annie Lee, Christine
Johnston, Josh Burnet, Andy Arthurs and Jessica Ainsworth. The four
visual artists are: Jenny Pollak, Ana Pollak,
Sally Currie & Nona Howard.
Although Bim...BamBoo!! has a very natural look,
and many of the sounds emanate from breath, voice and bamboo, there
is also a very contemporary hi-tech edge in which digital technology
is used in new and creative ways. The show opens a door into an
inner world inhabited by the six performers ....the audience watch
as voyeurs, eavesdropping overtly and publicly. Bim...BamBoo!! is music theatre that is music
driven rather than theatre driven. There is no narrative, no
dialogue, and the audience themselves create the relationships
between the performers. It is an aural and visual feast! |
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Click here to view "Bimbamboo" movie
(windows media v9, 10.6 mb)
(download latest media player)
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Kevin is a Roadie, a sound checker, “... one, two...one,
two......”
Every gig is different...different town, different venue,
different audience, but Kevin is a constant, the one part of the gig
that remains the same - reliable, detached...a pro. But
there’s something about Kevin that not many people realise - more to
him than meets the eye - or ear.
The gear he’s lugging - is it really what it appears?...or does
Kevin know better? Does he know things about the microphone
stand, the gaffer tape and his bunch of keys that the rest of us
would never imagine?
Kevin will take you on tour...on the road...and share with you
the secret musical lives of the band’s gear - secret lives, hidden
sounds, that not even the musicians themselves know about.
“Knocking On Kevin’s Door” is a show that brings
music out of the mundane - that takes the band’s set up and sound
check to ridiculous and delightful musical extremes, giving the
audience a peek behind the scenes at what the gear might sound like
if only the band had the same imagination as Kevin their roadie.
Kevin shows us that there is music in everything, and just how
rich and evocative that music can be.
“Knocking on Kevin’s Door” is a solo show
devised and performed by Linsey Pollak. Linsey,
through his character Kevin, creates a symphony in 14 movements with
a complex layering of sounds using a bunch of keys, drink bottles,
microphone stands, music stands, gaffer tape and a clarinet (not to
mention a bit of digital wizardry).
By “Knocking on Kevin’s Door”, Linsey blows
apart our preconceptions about music, instruments, and Roadies -
Kevin’s door opens to reveal a whole new world of sound.
“Knocking on Kevin’s Door” is about not making
assumptions, or taking all things at face value. People may not be
what they seem to be on the surface, and “things” too for that
matter.
In this show “Kevin the Roadie” turns out to be quite
different to what we may expect from his outward tough exterior. The
objects that he uses also take on an unexpected life of their
own.
Composition - The audience actually observes the
process of a musical piece being created. Each piece of music is
constructed on the spot using digital technology to immediately
record what is being played. The audience can therefore see each
layer being added until the piece is complete.
Found
Objects - Apart from a clarinet all the music is made on
objects that “Kev the Roadie” finds on stage such as gaffer tape,
drink bottles, microphone and music stands, and even a bunch of
keys. Many of the instruments are wind instruments, using a tube
that is already present in an object.
Digital
Technology - At the other extreme from the “Found Object”
approach is the use of digital technology in new and creative ways
to both instantaneously record the music (as already described) and
create new sounds. |
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Click here to view "Kevin" movie
(windows media v9, 2.04 mb)
(download latest media player)
Listen
to Kevin,
Check 1..2..3.. (mp3 audio 293kb)
Listen
to Kevin,
Hill Pipes (mp3 audio 1mb) |
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The Big Marimba was a huge Community music project devised by
Linsey for The Brisbane Biennial Festival of Music (as it was then
called) which involved 400 people from all around Cooroy on The
Sunshine Coast making a 320 metre long marimba (xylophone) that
comprised 160 x 2 octave marimbas. The 2400 marimba bars were made
and tuned over a 10 week period in a workshop that was open 7 days a
week at the Cooroy Butter Factory under the guidance of Linsey, Mik
Moore and Jacinta Foale. The 320 metres of marimba was then put in
place for 9 days crossing the Brisbane River attached to the
Victoria Bridge so that passers by could play it. To launch the Big
Marimba in Brisbane, 100 of the people from the community who had
made the marimbas came down to perform in The Big Marimba band with
30 marimbas and percussion.
This project had many long term spin-offs with many people on the
Sunshine Coast continuing to play marimbas and a number of marimba
ensembles springing up with people who had never played music before
not only keeping on playing but teaching others. Ten years later
there was a reunion that attracted 300 people. In 2006 there are
more people than ever playing marimbas on the Sunshine Coast. The
Qld Music Festival continued the Big Marimba project in Barcaldine
and Rockhampton in more recent years. |
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Click here to view "Big Marimba" movie
(windows media v9, 6.37mb)
(download latest media player)
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Devised by Linsey, Out of the Frying Pan was commissioned by The
Out of The Box Festival in Brisbane, directed by Chris Willems and
produced by Performing Lines. It created music from house and garden
objects with a cast of musician/actors that included Ceri McCoy,
Jorge Rico, Penny Glass, Kari and Linsey. It was a show for 3 – 8
year olds that created music from bottles glasses, brooms, mops,
chairs, a ladder, rubbish bins, a garden fork, an ironing board, a
carrot, inflatable trousers, a hammer, a kettle, a pumpkin etc etc.
It also toured to Sydney (Opera House and Sydney Festival) and the
Adelaide.
It also toured to Sydney (Opera House and Sydney Festival) and the Adelaide Come Out Festival.
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This National cross-cultural ensemble, formed by Linsey under the
auspices of the Brisbane Ethnic Music and Arts Centre (BEMAC),
represented a gathering of some of Australia's most uniquely
talented artists. Slivanje (meaning "meeting of waters" in
Macedonian) created new Australian music based on the traditions
that each musician brought to the group, ranging from Macedonian,
African and Latin American, to Indian and Japanese folk and
classical. Slivanje was: Linsey Pollak - bagpipes, clarinet,
saxophones, wind and percussion instruments; Hernan Flores - vocals,
guitar, Latin string and wind instruments, hand percussion; Blair
Greenberg - percussion; Dorinda Hafner - vocals, hand percussion,
dance; Satsuki Odamura - Japanese koto; Ashok Roy - Indian sarod.
They were one of the earlier experimenters in Cross Cultural
music in Australia and performed at the first WOMADELAIDE Festival
and released the cd “Where Waters meet”. |
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A crazy quartet from Kin Kin on the Sunshine coast with Linsey,
Jess Ainsworth, Ali Adams and Mik Moore.
Music from a Humarimba (marimba attached to 2 humans), sax, clarini, rubber glove bagpipes, zurna, wheelie bin, djembes, zils,
boing pipes, frying pans and a carrot. This group of natty dressers
(their early costumes featured rubber gloves in yellow and black)
performed all over Australia and did two extended European tours in
1996 and 1997. They recorded a cd called “On the Spot”. |
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Click here to view "Xylosax" movie
(windows media v9, 3.8mb)
(download latest media player)
Listen
to Xylosax,
Dancing North (mp3 audio 1mb)
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You had to be there!
This trio of three included:
The
President - Professor Crivici (Romano Crivici – Linsey’s
oldest friend…I don’t mean old….just from long ago….when they were
just kids….almost) – keys and violin.
Frank
Brutal - leader of the political arm of the Society (Blair
Greenberg) – percussion and guitar.
The
Secretary - Denis Bland (Linsey) – winds (of many
persuasions)
The Paranormals (as they were fondly called) had a cult following
in Sydney and were known for channeling the works of dead composers
(especially Hidegarde Spumoni – a lesser known Baroque composer) and
playing music whose notes were determined by rolls of a giant dice.
They improvised requests called out by the audience. Things like:
“the pinnacle guinea pig races”, “haddock”, “Bob Marley goes to
Turkey”, “Rawhide” and so on.
They recorded two albums (but only
released one – “Moving On”)
They were a legend in their own
time. |
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Click here to view "Paranormal" movie
(windows media v9, 4.79mb)
(download latest media player)
Listen
to Paranormal Music Society,
Crossed Wires (mp3 audio
3.5mb)
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