Wound Without A Tear

by Various Artists

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    “weeds change the colour of water”…
    is a speculative effort, one dreamt to collect ideas, interpretations, and interactions. By listening patiently, we may come to recognise some pattern in the tangle that surrounds and involves us – a spot to sense that, like a weed, we are insecurely tethered amid choppy and changing waters, which now, more than usual, have us flailing and adrift.

    Features:
    Hearing Australian Identity: Sites as Acoustic Spaces, an Audible Polyphony, Ros Bandt; Ephemeral Tears: Interview with Kazumichi Grime and Nick Wilson of Clan Analogue; "underneath a pile of rags": A playlist by friends of related "Australian" artists; that from which can be told is divided into two sections, Wound Without A Tear.

    Extract:
    Australian identity is a complex interplay of site, language and technology. Sound installations are powerful tools to access the collective consciousness associated with sites, each one an ever-changing audible polyphony. For each site there are many stories, dissolving around each other, some reflecting, some disappearing, many mutating according to the context, the time of hearing and the manner in which it is told. Sound carries layers of meaning and nonverbal information not possible with text-based accounts. The breath, the timbre, the speed and the intonation of each authentic voice influence the content and meaning of the spoken word. Utterance shapes narration and identity. Different voices when made audible side by side in a slipping mobile confluence, can inform each other in different and changing ways.

    76 pp.
    perfect bound softcover
    110 x 180 mm
    First edition of 200
    Language: English
    Naarm, September 2020
    ISBN 978-0-646-82671-4

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about

Wound Without A Tear is a compilation of “Australian” Ambient and Experimental Music; an area so often overlooked and misunderstood because it does not easily fall into historical context. However, the fifteen years (1993-2008) the collection cites–a period of early 90s post-rave ethereality defined by pleasure-centred spaces (chill-out rooms) and the personal computer’s emergence as a popular tool for file-sharing and secondary-living in the 00s–is befitting of closer examination.

The recordings were sourced from artists, labels, corrupted disk drives, CD-Rs, the WWW and archives of Melbourne’s 3RRR community radio station.

During the 1990s, as new technologies emerged and mass digital culture flourished, artists explored the emergent possibilities of the Internet with a utopian fervour, viewing the web and its plethora of images and information as a site of boundless potential. In the 2000s, file sharing connected people around the world directly to one another, and this incorporation of online experience into material objects, meant there was an increasingly porous border between the online and offline worlds–if there remained a border, at all.

What is remarkable from this collection is that so many people, working (mostly) on their own came up with such remarkably similar ideas. In most cases these similarities can be related to the inherent qualities of the medium, though often any distinction is decidedly blurred at the edges. 
The compilation seeks to make the works of these various artists available as a means of “demystification”. No specific destination is intended upon. Perhaps by the time you have reached the end, you will have forgotten where you began.

Endnotes:
How do you pronounce the title? Wound /waʊnd/ Without /wɪðˈaʊt/
A /eɪ/ Tear /teə(r)/

1. Wound. Furl. Twist. Wrap. Surround. To Move Back or
Forwards to a Desired Point.
2. Tear. Interruption. Disruption. Imperfection. Rupture.
3. Two words evoke a chain of events.

credits

released November 13, 2020

Artwork "untitled distress" by J
Design by Alex Margetic
Insert “Manipolazioni” by Angelina Nonaj
Mastering by Joseph Buchan
Compiled by Justin Cantrelll & Rowan Mason
Licensed by Daisart

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