January 18, 2014
August 30, 2013
The Giant Worms project consists of eight snapshots which are designed to be experienced as sound pieces, as images, and as texts. It is being made available as a mixed mode CD with full-colour printed booklet and disc. The mixed mode CD contains the eight snapshots as audio tracks which can be played in a CD player, as well as all eight snapshots as bitmap images and pdf files, which can be viewed/read by inserting the CD into a computer. It is important for me to emphasise that these eight snapshots are simultaneously audio pieces, images and texts, since the three manifestations arise from exactly the same data. In this way, the files are digital art objects in the truest sense, as it would be impossible to create an analogue equivalent that could be all three things simultaneously. When you listen to the music, you are also listening to the image and to the text; when you look at the image, you are also looking at the music and the text; when you read the text, you are also reading the music and the image – in their entirety.
The price is AUD $9 including postage to anywhere in the world.
Paypal to: ArrayWeb (at) gmail (dot) com
June 8, 2013
March 8, 2013
THIS IS A VIDEO RELEASE.
LIVE AT AUDIOPOLLEN – Massimo Magee’s Electro-Acoustic Outfit
Alison Blunt – Violin
Matt Earle – Electronics
Max Fowler-Roy – Double Bass
Mitch Green – Bass
Tim Green – Drums
Cameron Kennedy – Percussion
Massimo Magee – Horizontal and Vertical Alto Saxophone, mp3 Player
Henry Mills – Electronics
Sam O’Brien – Alto Saxophone
Jack Richardson – Electric Guitar
Adam Sussmann – Electronics
David Wallis – Harmonica
Filmed by MiHee Kim
Recorded live at Audiopollen on the 3/3/13, with thanks to Yusuke Akai.
Cover Art by Massimo Magee
September 14, 2012
DEFINITION: AMPLIFIER SOLO – Massimo Magee
1: Process 36:16
2: Aesthetics 10:00
Massimo Magee: Amplifier
The first track (‘Process’) is an improvised solo Amplifier performance recorded to hand-held tape recorder at a house concert organised by Tim Green. The recording is an incomplete document of the performance. At certain points in the recording the listener may notice the sounds of a camera – these are the sounds of my camera which I used to take photographs of my instrument and of the audience, during the performance. Roughly the latter half of the improvised performance recorded here in this first track consisted of the Amplifier mostly playing itself, responding to the vibrations in the floor caused by me walking and stumbling around the performance area. I would like to encourage the listener to also stand up and move around while listening to this section, if you feel so inclined. The second track (‘Aesthetics’) is not improvised. It is a composition inspired by the sounds that had been left on the tape after the end of the recording of track 1, which I felt compelled to record and include here after listening to the original tape and enjoying the sounds that had been left on the end after the recording of my improvised performance, and concluding that they sounded good as an ending. The composition entails the Amplifier being set up to produce a continual stream of high-pitched sounds, and being left to run for exactly 10 minutes. Apart from setting up the amplifier at the beginning and turning it off at the end, I had no further input into the generation of the sounds in this second piece. This composition is included here for purely aesthetic reasons, and is recorded in better quality than the more meaningful track 1.
July 7, 2012
THAT’LL VOID YOUR WARRANTY – Massimo Magee
That’ll Void Your Warranty is a 90-minute audio cassette of solo mostly-VCR improvisation by Massimo Magee. It is being released exclusively in a physical edition of 50 tapes. Each copy is assembled by hand and features deluxe library-style packaging, subtly hand-painted tape shells, and 10 original photographs.
The price is $7 within Australia, and $10 for the rest of the world. Paypal to: ArrayWeb (at) gmail (dot) com
November 30, 2011
COLLECTED SOLOS – Massimo Magee
26 Discs of improvisations, an 87-page journal, and specially-created artwork, all by Massimo Magee
The first recording in this collection is from 2008. Some time after this, after having recorded a number of other improvisations (which make up the rest of disc 1), I decided to embark on a 25-disc exploration of total improvisation – a pursuit of improvisation in the absolute, through the medium of sound. I decided on 25 discs because I wanted the resulting collection of recordings to represent a larger snapshot of the ongoing process than is generally available. Any document of an improvisor is going to be simply a snapshot of their ongoing exploration of improvisation, but in this case I wanted that snapshot to cover a longer period of time (both in the making and in the listening) so as to give a different perspective. I was also keen for the experience of listening to this project to be more akin to reading a long novel – not something that could be finished in an hour or so and then either forgotten or repeated, but something that would take a long time to work through, something that the listener would have to live with for a longer period of time before reaching the end. Some time later, I also decided to write a journal to go along with the improvisations, writing one journal entry per improvisation recorded. I would recommend listening to this collection disc by disc, over whatever period of time is comfortable, reading the corresponding journal entries after listening to each disc. Although since the journal entries only start at track 27, this would only apply from disc 7 onwards. If you wanted to (and didn’t plan on sleeping) you could probably listen to the whole collection in one day, although this would require extraordinary dedication. The improvisations themselves were recorded on whatever recording equipment happened to be available, meaning that circumstances have left their mark on the recordings to a significant degree, and that the recording situations have been decided upon more or less on the fly. The recording quality of the improvisations, therefore, varies considerably. Most were recorded by me, although towards the end of the project situations arose whereby some of them could be recorded in much better quality by Alexander Feder. I should emphasise that this project (all 26 discs of audio, the journal, and the artwork) should be treated as a single work, and not divided into parts.
The Collected Solos Project is now available in only one format:
A digital version, which is available as a FREE DOWNLOAD at the following link:
The digital version includes all 26 Discs of audio, the entire 87-page journal in pdf format, and the artwork, also in pdf format. The audio is in mp3, and the total download is 1.8Gb in size.
September 5, 2011
SELF PORTRAIT THROUGH PROCESS – Massimo Magee
1: Self Portrait Through Process 17:15
Massimo Magee: Cassette/Analogue Synthesiser/Laptop feedback loop acted upon in parts by Sopranino Saxophone and Whistling
Cover Photograph – Self Portrait Through Process by Massimo Magee
This piece started when I had an idea for a particular instrumental set-up involving a cassette/analogue synthesiser/laptop feedback loop, recording directly to tape. When the time came (when there was time) I put this idea into practice and put together the set-up. I then pushed the ‘record’ button on the tape recorder, and set the instrument in motion. At this point, I had no idea how to control the instrument at all, no idea how to impose my improvisational impulses on the sounds emanating from it. Then, over the course of the piece recorded here, I developed a relationship with the instrument gradually, developing ways to improvise with it, and impose my improvisational impulses on the sounds, over the course of the 17 minutes and 15 seconds heard here. At some point, when I decided the piece was over, I pushed ‘stop’.
The piece is a self portrait in as much as it is a portrait of anyone. The process described above could be an apt metaphor for life in general. We are not generally born knowing how to impose our designs on the world around us, and instead must gradually develop a relationship with this world as we live. Some people say life is an improvisation. The piece is also an improvisation, and as such is a microcosm of existence. It is an exploration of existence in a particular moment, limited to the field of sound. The interaction of a consciousness with the array of possibilities available to it in the given moment, and the willingness of that consciousness to enter into that moment and to respect it.
The cover photograph is more of a true self portrait in that to create it, I took a photograph of myself, then took a photograph of that photograph, then took a photograph of that photograph of that photograph, then took a photograph of that photograph of that photograph of that photograph, then took a of that photograph of that photograph of that photograph of that photograph of that photograph, then took a photograph of that photograph of that photograph of that photograph of that photograph of that photograph, then took a photograph of that photograph of that photograph of that photograph of that photograph of that photograph of that photograph, and so on.
March 11, 2010
OF AN EVENING – Tim Green, Massimo Magee and John Porter
1: Part I: In Which Friction Accumulates 20:41
2: Part II: Experiments In Hypnotism 22:41
3: Part III: In Which We Encounter A Groove 10:31
4: Part IV: Double Take 4:49
Tim Green: Drums and mobile phone
Massimo Magee: Sopranino Saxophone, clarinet, piano, signal generator, laptop feedback, tape recorder with blank tape, walkie-talkies, field recordings, recordings of prior drum improvisation by Tim Green, amplifier feedback
John Porter: Soprano Saxophone
Live trio recording – Free Improvisation with no edits, overdubs, or prior planning