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      • The Past is Singing in Our Teeth (2017)
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      • Smoothing the Pillow of Dying Race (2015)
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      • Delay Taints (2018)
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      • The Earth Defeats Me (2014)
      • Pure (2014-16)
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      • Sogno 102 (2013)
      • Lowest Drawer (2013)
      • Liminum (2012)
      • Cruel and Usual (2012)
      • Chunk (2011)
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      • Kuklinski's Dream (2010)
      • Empire (2010)
      • The Possible Stories of Harry Power (2009)
    • large ensemble >
      • Speechless [2017]
      • her pockets full of inertia [2015]
      • The End of Abe Sada 2014
      • Moments of Disappearance 2013
      • Black Emperor 2012
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      • Bravo Compound 2015
      • Chrome Arrow 2014
      • Kingdom Come 2008
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    • Performance Installations >
      • Plug (2006)
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      • The Other Velvet (1999)
    • sound installations (solo) >
      • The End of Abe Sada 2014
      • Sounds of Decay [2013]
      • Amp Stack (2011)
      • Ruined Speaker Project (ongoing)
      • Drive [2002] and Tremor [2009]
      • Pick Pocket (2005)
    • visual art installations (collaborations) >
      • The Past is Singing in Our Teeth [with Kate McMillan] (2017)
      • Moments of Disappearance [with Kate McMillan] 2013
      • Islands of Incarceration [with Kate McMillan] 2010
      • Lost [with Kate McMillan] 2008
  • songs
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    • HzHzHz
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    • Digital Art: An Introduction to New Media
    • The End of Abe Sada
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    • A year in Peggy's House - Peggy Glanville-Hicks Residency 2014
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    • decibel new music ensemble

HzHzHz review - in Creative4

2/22/2014

 
See the review in Italian here: 
http://be-creative.lifestylecommunity.it/4/

HZHZHZ AUSTRALIAN NOISE DUO

Cat Hope , is a composer and sonic researcher  at the cutting edge of the avant-garde in  Australia, as well as artistic director of the Decibel new music ensemble  who are dedicated to contemporary electronic s, the integration of acoustic and electronic instruments , and interpretation of the classic masters such a sCage and Scelsi .

Tristan Parr , who was also involved in the Decibel project,, as well as in other offshoots of the drift of experimental and abstract electronics that have been "Cultured" in recent decades.

In this HZHZHZ release however , published by Italy's Brusio Netlabel , Hope and Parr sound very rock . It is clear that there is nothing to do with the song form here. Quite the contrary: the deconstruction is complete. The point is that HZHZHZ evokes an imaginary world similar to the wild ( and cacophonous ) depravity of rock weathering : empty beer cans abandoned on the floor of a rehearsal  room underground next to an ashtray full of cigarette butts ,empty beer bottles , tube amps that hiss  and the hum of a mass caused of unplugged jacks.

Aesthetics of destruction, in short, that resolve in the wall of sound and the restless search for a primordial noise. HZHZHZ moves along psychedelic  and deep noise territories, embracing a sound  that resembles the analog of yesteryear. It's kind of intense trip  that recalls life in old ghosts: the outros of

Crazy Horse, delusions in acid, the Swans  playing on the Sabbath, Thurston Moore and Kim Gordon  turned into zombies, Uncle Lou rewriting Metal

Machine Music in 2014.

A disk of radical noise that wont give you a peaceful sleep, anti-hipster, dark, all played in  low, very low frequencies, abyssal drones and ancestral visions

Would probably sound like Sunn if they were less metal oriented.

Piero Maltese



http://be-creative.lifestylecommunity.it/4/files/download/Be-CREATIVE%204.pdf


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