Rhythm is at the core of who we are.
Second to second, day to day, year to year, our lives are a series of spiralling orbits governed by time. Time between heartbeats, between breathes, between meals, between visits with family, the list of cyclical activity goes on and on. It’s as though our lives are merely expanding and contracting cycles, loops that extend onward until sharply cut by the edit of mortality.
It’s here, in these ideas of time, motion and joyful repetition that I hatched my series entitled ‘Grain Loops’. Inspired in part by an introduction to the German word rauschen from editing the work of my past-mentor, Peter Ablinger, Grain Loops borrows from the most minimal elements of contemporary post production methodologies. The sound pieces offering themselves both as discrete sound experiences and as ‘tools’ for future use by other artists.
Recorded in Canada at Banff during a residency there, I limited my palette to four snare drums and sandpaper. I drilled deeply into these objects, drawing out as much detail as possible from the skins through a variety of close microphone techniques. The resulting recordings are hyper-real, exaggerated and ideally meditative. This work is an exercise in control, focus and repetition.
Austin Buckett (b.1988) is an Australian composer and artist working in mediums that explore ideas focused on the perception of sound, its repetition and the environments of its presentation. His practice includes writing works for various concert settings, audio-visual installations and producing studio albums. He has been a featured artist at festivals such as the 2011 Tura Totally Huge New Music Festival, and the 2012 and 2013 NOWnow Festivals of experimental film and music, and has curated events for Canberra Centenary’s ‘You Are Here Festival’, The Street Theatre (Canberra) and ABC Classic FM including ‘Everything Always’ for their New Music Up Late program in late 2012.
Other streams of Buckett’s work include the experimental rock band Golden Blonde, Hip-hop dissection project POWER MOVES, post-jazz outfit Pollen Trio with Evan Dorrian (Spartak) and Marcus Whale (Collarbones, Scissorlock), and a series of performance installations for percussionist William Jackson (Synergy/Nomad) in selected elevators.
Premiered works of Buckett’s include Improvisers and Noise (2012) for 2-4 improvisers and 4 speakers performed at ABC Studios, Ultimo, Dead Machines (2012) for 4 flute head-joints and 4 speakers, commissioned by Lina Andonovska for a New Music Network Mini-series concert at 45 downstairs, Melbourne, Mt Baker, a collaboration with renowned visual artist Gosia Wlodarczak exhibited at the Western Gallery, Washington, USA and Mothlight for 3 flutes, percussion, electronics, and 16mm projector, commissioned by Cat Hope/Decibel and performed at Perth Institute of Contemporary Arts.
From 2011 Austin has edited scores for his past-mentor Peter Ablinger in Berlin, and was invited to the 2011 Wittener Tage für neue Kammermusik in Germany, to assist with installation works. In 2013 Buckett had a mentorship in New York with renowned artist Marina Rosenfeld, supported by the Australia Council, was a copyist and orchestrator for a piece for the Royal Ballet, London, released Golden Blonde’s album Gwen (nominated for FBi SMAC Awards ‘Best Record, 2013’), POWER MOVES debut mixtape and is currently working on a piano commission for 48 preludes and fugues.
As part of various projects he has released several albums on labels including HellosQuare Recordings, Tenzenmann, Dream Damage, and an upcoming release as POWER MOVES on Sydney label The Finer Things. Austin Buckett’s second release under his own name was released by Room40 in May, 2014.
PRESS QUOTES – SELECTED
There is also something wildly original in the way that Buckett builds portentousness out of such sparsity. …The effect is electrifying’ – Sydney Morning Herald
Buckett’s attention to detail is mesmerizing. “11″ is a pure display of vital, rhythmic texture -Boston Hassle (Boston, USA)
The album is striking and challenging; dense and spacious. A study in contrasts with a focus on dark shades, the percussive piano work is also laced with striking and at times menacing string work from the Silo String Quartet. – Fluid Radio (UK)