Date and Time RĀTŪ (TUES) JUNE 30, 7PM Joel Stern/Sean Dockray/James Parker (Naarm, Australia) + Chrissie Butler/Gerard Crewdson/Daniel Beban
Entry $15 presales, $20 door ($10 unwaged)
Following their Machine Listening Offsite performance at Circuit on Monday 29th June , visiting artists from Naarm/Melbourne, Joel Stern, Sean Dockray and James Parker, will perform an improvised set for self built software and buchla synth at Pyramid Club.
Opening the gig, Joel Stern will collaborate in an improvised, found sound/found object set with locals Chrissie Butler (DSLB), Gerard Crewdson and Daniel Beban.
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Joel Stern is an artist, curator, and researcher. His work explores sound and listening as cultural, political, and technical practices shaping contemporary life. He is a Research Fellow at RMIT’s School of Media and Communication, an Associate Investigator at ADM+S, and was Artistic Director of Liquid Architecture from 2013 to 2022.
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James Parker is an Associate Professor at Melbourne Law School, who works across legal scholarship, art criticism, curation, and production. He is an Associate Investigator with ADM+S, a former ARC DECRA fellow, former visiting fellow at the Program for Science, Technology and Society at the Harvard Kennedy School for Government, and sits on the advisory board of Earshot, an NGO specialising in audio forensics.
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Sean Dockray is an artist and writer whose work explores the politics of technology, with a particular emphasis on artificial intelligences and the algorithmic web. He is a Senior Lecturer in Fine Art at Monash University, a founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and AAAARG.ORG.
It may feel like it’s been a bit hibernate-y sin ce Taiwan, but that is truely not the case.
2026 has, as I’m sure you will be well aware, well and truely started, and shesh!! The madness of king Trump, our own invisible PM in times of crisis, the upending of global habits and fantasies (USA- land of the Free…pfft) into more uncertain territory, and all the rest… it’s like some weird dystopian’s wet-dream.
We, however, have been quietly getting on with doing what we do.
SHOWS: Friday 30 Jan: vegetable.machine.animal(v.m.a) is playing at the POWER 2 PŌNEKE, a fundraiser collecting $$ for Wāhine ora o Te Waimāpihi/Wellington Women’s Health Collective. 13 Garrett St, from 8pm Saturday 31 Jan: DSLB performing on Night 2 of the Anna Fält & Ira Hadžić season at Pyramid Club Saturday 21 Feb: Quarry Concert #9: vegetable.machine.animal, Bone Chapel, and Tondo: 104 Ellice St, Mount Victoria, Wellington 6011
Anna Fält & Ira Hadžić season at Pyramid Club
Drawing blog: A beautiful new set of drawing has been posted up at chrissiebutler.com – please go and check it out. Also, we invite you to subscribe if you’d like to receive sporadic notifications into your email when new images are post.
Recording: vegetable.machine.animal has completed an intensive two-week period of recording in early Jan. The focus of this is the companion release to Guest, though this album will be collaborator-free, it will present the trio on its own.
The v.m.a recordings from Taiwan are also close to completion. Really looking forward to sharing them.
Social Media: We have set up a profile on the new platform Upscrolled. @skirted We hope it manages to unshitify the world of online connection.
Funding: Kieran is thrill to be a recipient of CNZ Creative Fellowship funding for 2026. This will free up time for much more dedicated music making and playing. If you are interested in having vegetable.machine.animal come and perform/present then please contact us at: skirtedrecords@tuta.com
The last week of the Tainan residency is coming to an end. We’ve started the packing and wrapping up of projects, ideas, and connections.
It’s been a time of many things. One such thing has been the wonderful opportunity to be based in a single location, a home-base if you will, where we can settle to concentrate on projects, as well as use it as a launchpad to tour from. A place that we can travel away from for shows over weekends and then return to familiarity to rest, reset and regather.
It’s a privilege to travel to play shows. It asks a lot from locals to spend precious time and energy on the committed organising and hosting events. We always aim to make it worth their while. Sometimes we were able to jump on an already existing show, and other-times a show was initiated in response to our interest in an area. To all those people (Lars, Fang Yi, Immanuel, Rex Chen, Reuben, Deng Yao) we offer up our thanks and gratitude.
The moving around has also provided a snapshot opportunity to witness what is happening with experimental music in Taiwan. It seems healthy and burgeoning scene. There are stable venues (as stable as a venue can be) that offer space for regular performances, there’s people on the ground with ongoing energy to organise, people with musical curiosity to draw upon to perform, and people who hold the important role of ‘appreciative audience’.
From the early stages of our organising, it quickly becomes apparent that Taiwan is well-networked. Various people freely shared information on who we should make contact with in other centres, and often the crossover of names and emails was frequent. People across the cities and regions seemed to have a current handle on who was organising elsewhere, interconnection is a healthy sign of an active and vibrant community.
Included in our tour schedule was our end of residency show at Ting Shuo. We spoke about our history of music making, through mr sterile Assembly to the current projects. Chrissie facilitated a drawing workshop, based on a practice by US illustrator Lynda Barry. Check out Chrissie’s drawings at Picture This, she’s beautifully captured to paper some of our most memorable moments. To wrap up the evening, DSLB/vma presented a joint performance to the good people of Tainan. Thank you Ting Shuo for hosting us!
In our last week, we met up with musicians Fangi Yi Liu, Chen En He, Ooonie, and Nigel at Ting Shuo for an afternoon of improvised goodness. A full afternoon of sound-making with new friends, audibly solidifying the beautiful connections we’ve made over the last seven weeks.
And finally, Kieran had an opportunity to present vegetable.machine.animal at TNNUA, the Tainan National University of the Arts. Over two hours Kieran discussed, demonstrated, and performed v.m.a to students from ethnomusicology and music departments. Alice, from Ting Shuo, brilliantly supported with interpreting skills. The performance became very cosy as the students got closer and enveloped the stage. It felt like a mutually lively and interactive conversation spanning from mycelium, punk rock, Mad Max, Bruno Latour, and tips for students wanting to explore musical improvisation.
Many thanks and gratitude to everyone we’ve met over theist two months. You all made us feel so welcome, you freely offered suggestions of things to do or places to eat, you stopped and wanted to chat, and you took interest in the projects and sounds that we brought to Taiwan. Our experience would have been so much less for not having had met you. Till the next time. And finally, our immense thanks to Alice, Nigel(and Esme) of Ting Shuo Hear Say for enabling this trip to become a possibility. It will certainly be one that remains in our memories with great fondness. Gratitude galore!!! xxx
We leave early in the morning. We came Hualien to play a show at a cute cafe called Night Cruising, at an event called 電路萬段 Electric Road. We met wonderful people and felt welcomed by their enthusiasm.
From the train window, evidence is still visible from Typhoon Ragasa’s recent visit: A super-typhoon that slammed into the Taiwanese east coast, Hualien County, only weeks ago, in September.
There are tears on the hills from slips, some of the scars are massive. Roads built on the side of river banks are broken at right angles, as the force of the wash undermined any idea of structural integrity. There’s also human-made assemblages of rocks, boulders, and concrete structures waiting in place to be used to repair some of the damage. There’s also spontaneous hillsides of elephant-sized stones washed down from torrents, thrown violently as if weightless to the might of water.
The riverbeds are occupied by machinery. Diggers and graders assemble to remove and distribute the debris. They look like tiny toys in these causeways of dry braided rivers. But Typhoon Fung-Wong is on the way, and it will blow the dry away.
The news yesterday says the super-typhoon has just left the Philippines, with nearly one million forced to evacuate, and a shit-tonne of damage left in its wake. It is the 25th typhoon in 2025 to impact the Philippines.
Typhoon Fung-Wong in the Phillipines
Hualien County is on high alert from incoming Fung-Wong. Less than two months ago, Typhoon Ragasa smashed the region, bringing death, injury, and destruction. Entire neighbourhoods were submerged after barrier lakes, naturally formed obstructions (think dam) in the mountains, breeched, sending water, mud, and rock at all that lay in its path.
Ragasa in Hualien, September 2025
We met a teacher/artist in Fenglin in a super-friendly coffee shop. She tells us how her school was devastated by Ragasa. Classrooms clogged by mud, resources ruined and destroyed in the aftermath. The clean-up is ongoing, and nothing is normal. Classes haven’t resumed, but the teacher returns to work to continue with the clean-up. She also shows us some of her artwork, illustrations for a book she is writing to help children manage and express the intense emotions they may be feeling. Her attention to care is evident. And finally, more personally, she shows us a video on her phone, a clip she filmed after they had evacuated upstairs, of the torrential floodwaters surging down the streets past her family home six weeks ago. She points out cars, appliances, and other items that float past in the deluge.
“Don’t Rain Anymore” Shizaodai– thank you for letting us share your art
We also hear the repeatable story of civic mobilisation and mutual support post-disaster. Ordinary people who voluntarily head into damaged zones to help out with cleaning, repairing, and bringing essential skills and compassion for others. Ordinary empathy is an incredible resource, worth more than all the gold and riches.
Video of Ragasa impact in Southern China
This will be my first experience of a typhoon, but here, it is an ongoing and seasonal experience for Taiwan. That said it is now without question that the frequency and intensity of these storms is increasing. The meteorological projection, for this part of the world, is that the ongoing warming ocean will continue to exacerbate the extremity of the storms. And you can’t move an island.
I live on an immovable island at a safe-ish distance for most of these sub-tropical events – for the moment. But change has arrived whether we like it or not. The impacts are with us. Back home in Aotearoa, the recent fires of Tongariro are still smouldering. And the evidence says the fires are more frequent, as are droughts, the winds, and rains. To top this off, we have a government who are acting like a bunch of slap-headed fuckwits in relation to any policy responsibility towards the mitigation from the impacts of a locally, and globally, changing climate. The islands are fixed in place, the change comes to us.
Later: I’m about to press publish. The typhoon arrives in about 9 hours. Friendly folk we have met over the last few weeks are telling us to be careful. But when we look around the laneways it all seems quite relaxed. There almost nothing I can see that indicates that people are especially worried. The only precaution I spot is that a local joss paper shop has cover his merchandise with a single tarp, and then fixed it to the ground with plastic rope and a brick. But best I don’t get deceived, the locals are experts at living with these storms. We will see what the morning brings.
During the NZSM/Toi Pōneke arts residency, 2024, I was introduced to SOUNZ– the Centre for New Zealand Music. To be honest, I knew about SOUNZ in the peripheral cul-de-sacs of my brain but I thought it was mostly for classical music. And it is, but it is also much more.
It says about itself that it “…champions and promotes the sounds and music of Aotearoa, New Zealand.” It contains a huge collection of music score and such, but I was totally unaware that it has a substantial audio/visual component.
SOUNZ offered to come and video a number of performance associated with the vegetable.machine.animal Guest album launch, as well as a couple of the performances attached to the accompanying exhibition being held at Toi Pōneke. For free! With multiple cameras! and they would do the grunt of editing etc! Quite an amazing offer. My tasks were to perform well, and be responsible for recording the audio – this is quite likely a barrier for many but less insurmountable these days as digital recording devices get smaller, easier to use, and more available.
The video work was completed by Chris Wilson, a production team of team of one. Amazingly easy to work with, and very considerate in the way he set multiple cameras around the stage in ways that did not seem invasive or impinge on the ability to perform. A terrific experience.
I wish again to offer many thanks to the other musicians who took part in these performances: Kedron Parker, Gemma, S. Thompson, David Long, Chrissie Butler, Timothy Morel, Sophia Frudd, Andrew Faleatua (unfortunately not filmed but an audio recording was collected) and Ruby Solly. They are all incredible music makers in their own rights and are worthy of your aural attention.
We are hours away from hoping onboard a metal bird to wing our way to the island of Taiwan.
We are very fortunate to have the opportunity to spend two months in Tainan, a southern city in Taiwan, in residence at Ting Shuo Hear Say. We have a bunch of projects to explore and experiment with, and we look forwards to sharing these with you in time as they revel themselves to us.
And for added excitement there’s a bunch of show in the middle of the stay. The 7th is tentative, perhaps we go to Hualien, but they have just been impacted by the typhoon. We shall wait and see. The shows will be a combination of playing together as a duo, as solos, or in collaborations with local musicians.
The residency was open in terms of output. No external pressure to “make a thing”, just a chance to nudge some ideas into the light. After a few days of pulling a random array of instruments out of cupboards and off shelves, I settled on working with 6 organs, a prepared piano, a glock, a selection of bowls and sound makers kindly lent by Chris O’Connor and two metal trolleys.
Jeff Henderson, AF director, generously mic’ed everything up, set me up with a recording session on Reaper, we set levels and he left me to it. It is rare that the gig room at AF is unscheduled for such a long period, but the clustering of stat holidays resulted in a gig void, some time off for the AF team and an empty room for me.
It was a new experience recording in a large space for days at a time alone. It took a while to drop into that mental space where the rest of the world fades and your focus narrows to only what you’re making. I value these times out of time so much.
I didn’t really have a plan. I knew I wanted to bring home a collection of tones and drones but beyond that I just played for hours, listened back, culled the dross and kept ideas I felt I could develop. Once I had a first cluster of ideas down from each instrument, I moved everything from AFs computer to my laptop and began overdubbing. This was a more familiar way of working, layering new sounds and ideas up in real time, playing along with myself.
When I’m working like this I often take and make videos. They help me see the sound as well as hear it. Below is an example.
Huge thanks to the Audio Foundation (especially Jeff and Sam) for the invitation and opportunity to spend 8 days researching and developing new work. Thanks for making me welcome and making it easy.
For the month of November in 2023, Kieran and I headed to the Coromandel to be Artists-in-Residence at Driving Creek Railway and Pottery. The fruit of those 4 weeks for me was the album Driving Creek, a multi-layered soundscape mapping dawn til dusk.
For the potters-in-residence, there is a provocation to leave a piece of work. As someone who works with sound, leaving an artefact took a bit more thinking. But now Driving Creek, the album, is “installed” in the Driving Creek, the location and community. A poster (see below) with a QR code takes listeners to the album. Tourists can listen whilst waiting for the train, residents and staff can listen whilst doing the dishes, laying rails, or throwing pots. Everyone can listen for free, and for a small fee, the album can be downloaded.
The poster has been up for a few days, and we can see from the stats that people are dipping in for a listen.
If you haven’t had a listen, we’d welcome your ears. The album has been warmly received, and I think it’s the best solo work I’ve made to date.
And here’s the poster with a photo of me recording the “Down Pour” track above, using all the discarded cups.
Many thanks to Kieran for the design of the poster, to Callum for the thumbs up and to Riccardo for herding cats and getting the posters up.
There Are No More Four Seasons is the name of a Swedish duo of electronic musician Mattias Petersson and violinist George Kentros. Taking older pieces of music and recomposing them to once again become relevant to our times. Their self-titled debut was named one of the ten best classical recordings of the past decade by DN, and Time Out New York called them a must see concert.
DSLB is the solo project of Chrissie Butler (the shouty bass playing half of the now sleeping duo, mr sterile Assembly). An offshoot from Chrissie’s other band Ditzy Squall, DSLB (Ditzy Squall’s Lunch Box) is a showcase for a love of long endings and the hum things make when you hold them close to your ear. Performed live, DSLB is an improvised mash-up of ancient record players, purring keyboards, kitchen utensils and found objects. Soundtracks for short films and hand drawn comics are also residents in the lunch box. Recordings are released by skirted Records.
Phil Brownlee is a composer and audio artist based in Te Awa Kairangi, working with computer manipulation of environmental sound. Performing ‘Filament’, a live drone event with kitchen recordings drawn out into long threads of sound.