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 AUD$10 within Australia, and AUD$19 for the rest of the world. Paypal to: ArrayWeb (at) gmail (dot) com
Please note this price reflects the cost of the materials involved, and the postage.
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.
April 19, 2009
ALL ANGLES – Lee Noyes and Massimo Magee
1: ‘Round Midnight (Monk) LN + MM 04:39
Part 1: Lo-Fi—
2: Guitar Solo LN 07:40
3: Friction MM 09:18
4: Drums and Sampler Solo LN 11:00
5: Relativity MM 13:59
Part 2: Patchwork—
6: Patchwork Piece LN + MM 30:30
Part 3: Live—
7: Live 2 LN + MM 65:05
8: Live 1 [extract] LN + MM 08:54
9: In A Sentimental Mood (Ellington) LN + MM 05:54
Lee Noyes – Drums, Percussion, Guitar, Sampler, Loops, Tapes, Bells
Massimo Magee – Tenor, Alto and Sopranino Saxophones, Clarinet, Trumpet, Amplifier with Headphones and Preparations, Keyboard, Tapes, Tape Recorder, Laptop, Homemade and Found Drums and Percussion, Cymbals, Radio, Tube, Bell, Jaw
-mix of email and live collaboration with Lee Noyes, recorded late 2007/early 2008