Laura Altman celebrates the launch of her debut solo CD ‘Holy Trinity’ on Relative Pitch Records. The music for this album was recorded on a warm, hazy afternoon at the Holy Trinity Church in York, WA on Ballardong Noongar Country during a solo residency period in 2023. Over the last couple of years these long form improvisations have been carefully crafted into a series of pieces that are at once delicate and textural yet bold and expressive.
Laura is looking forward to playing in and with the new The Living Room Theatre space.
With support from Jim Denley, Melanie Herbert and m.h.
Doors 6:30pm
Three sets of music from 7pm.
Entry $20 or $15 concession.
(or pay what you can)
CDs for sale
Drinks for sale
Artists:
Laura Altman (clarinet, tins, feedback, tapes, objects, voice)
m.h. (lyres, tape, feedback, objects and obscured vocalisations)
Inside/Outside: Melanie Herbert (violin, singing bowls) and Jim Denley (flutes, gumnut, voice)
More about the artists:
Laura Altman is based in Sydney on Gadigal-Wangal Country, where she has woven her way through the improvised, exploratory and folk music scenes with her intuitive clarinet playing, free improvising and compositions. Laura’s solo improvisation practice involves her unique approach to the clarinet, underpinned by a curiosity with resonance and feedback.
m.h. is the solo project of Moss Hopkins, a sound artist and musician living on Wangal land. Working from an iterative, cut-up text score, live performances involve the use of lyres, tape, feedback, objects and obscured vocalisations. What results is a sparse and spectral thing.
Jim Denley and Melanie Herbert are Inside/Outside. Jim and Melanie share an approach to musickin that doesn’t involve atomised notes, or tones: what they individually and then collectively work with are polyphonic sound-clouds that are wave-like, full of potential and ambiguity, but hard to pin down. The phenomena they are interested in are often quiet, delicate, and porous to all the other sounds occurring in a specific place.
Rooted in Altman's exploratory practice, she weaves clarinet alongside a sparse palette of preparations, objects, tapes, and feedback. She crafts a series of pieces that are at once delicate and textural yet bold and expressive that reflect both the unique acoustics of the space and her subtle, inquisitive approach to sound, offering a contemplative and tactile listening experience that blurs the line between instrument, environment, and intervention.