“N-Dimension by Decibel’s own Stuart James… is one of the most brilliant New Music works I’ve ever had the pleasure of experiencing…this group of composers warrant the platform they’ve been given tonight: separate from academia, away from stuffy concert halls, in the midst of the city, the cultural centre, and its Friday night goings on – in the thick of things, front and centre.” Lyndon Blue, COol Perth Nights. Read the full review here
Archive for the ‘Reviews’ Category
“Decibel from Perth performed in a cut down configuration featuring Cat Hope on bass flute and Lindsay Vickery on bass clarinet and Sydney-based guests Mark Cauvin on double bass and Jon Watts on laptop. Using their custom designed app, ScorePlayer, the ensemble performed two new graphic scores projected for both players and audience to follow. The first, Silent Revolution by Lindsay Vickery, combines a notation of coloured lines with collaged black and white images of historical revolts that gradually become increasingly abstracted. The players are prompted to make short staccato eruptions developing into longer more intertwined atonal sequences. The rich rabble of sound manipulated by Watts on laptop near the conclusion of the score is particularly interesting as is its visual correlation of dense larva-like texture. The second piece, Lower Drawer by Cat Hope, consists purely of coloured lines dictating sustained tones and small pitch bends and glissandi. It’s a quiet and ambiguous piece—always in the process of becoming and never arriving, an intriguing effect that feels intimately linked to the scrolling mechanism of the score which creates a kind of self-contained chaos.” Gail Priest, Realtime, read the full article here
“…clearly a labour of love, which is even more evident in the high quality performances. Highly recommended”. Joshua Meggitt, Cyclic Defrost. Read the full review here
“A misshapenly beautiful soundtrack to a wasteland shelter.” Lyndon Blue, Cool Perth Nights. Read the full review here
“It is s safe to say that there’s no one in the country, perhaps the world doing the kinds of things with traditional instrumentation that Decibel are doing, let alone with new compositional structures and methods of sound generation. Stasis Ecstatic is an exemplary collection of pieces illustrating the sheer limits of sound, and the rewards that can be reaped by those with the requisite patience and open-mindedness required from such exploratory approaches to sound.”
Read the full review here
ILLARIO COLLI (Limelight) : There are certain ensembles that have quite a close working relationship with TURA. Perth-based new music ensemble Decibel seems to be one of them. How do such collaborations enrich TURA, do you think?
TOS MAHONEY (Tura): Well hopefully it’s a two-way enrichment. We provide the structure and performance platforms to help get these ensembles off the ground. Rather than enriching TURA, I would say they enrich the WA music scene and that of the whole world. Ongoing ensembles like Decibel that are dedicated to presenting local composers are few and far between, so they really are an essential part of the Australian music landscape. It’s been a great privilege and pleasure to help Decibel establish themselves.
Read the full article here.
” mood-inducing and aurally enticing” Lyndon Blue.
Read the full review here.
“Into this quiet, conservative atmosphere they work with the quirky edges of new music, each piece holding a surprise within it that turns the conservatism of composition on its head.” Darren Jorgenson. Read the full review here
“Distant dark sound shadows and electro acoustic adventures” – Decibel article in Schott’s new music magazine.Monday, June 18th, 2012
DISTANT, DARK SONIC SHADOWS AND ELECTROACOUSTIC ADVENTURES:
THE AUSTRALIAN ENSEMBLE DECIBEL ON THEIR FIRST EUROPEAN TOUR
” The conceptual range of Decibel is broader, more open, and contains more surprises than that of some large European New Music Ensembles…These concerts of the Australian ensemble in Europe have been mutually illuminating – in the sense of an intercontinental exchange, enriching us both, the Australian Ensemble and the European new music scene.”
Read the full translation of the article here.