#ollie bown

[nofatclips]

Lilliputian by Tangents b/w Ossicles

[goalhofer]

2024 IIHF Worlds Great Britain Roster

Wingers

#7 Robert Lachowicz (Glasgow Clan/Nottingham)

#9 Brett Perlini (Herning Blå Ræv/Guildford)

#11 Cameron Critchlow (Manchester Storm/Summerside, PEI)

#14 Liam Kirk (H.K. V.E.R.V.A. Litvínov/Rotherham)

#23 Sean Norris (Belfast Giants/Ascot)

#48 Johnny Curran (Coventry Blaze/Niagara Falls, Ontario)

#74 Ollie Betteridge (Nottingham Panthers/Nottingham)

#91 Ben Lake (Belfast Giants/Calgary, Alberta)

#94 Cade Neilson (Alaska, Fairbanks Nanooks/Nottingham)

Centers

#5 Ben Davies (Cardiff Devils/Cardiff)

#16 Sam Duggan (Cardiff Devils/Reading)

#27 Cole Shudra (Sheffield Steelers/Rotherham)

#75 Robert Dowd (Sheffield Steelers/Billingham)

Defensemen

#2 Sam Ruopp (E.H.C. Lausitzer Füchse/Regina, Saskatchewan)

#13 David Phillips (Belfast Giants/Kingston Upon Hull)

#17 Mark Richardson (Cardiff Devils/Swindon)

#24 Jeff Tetlow (Nottingham Panthers/London)

#26 Evan Mosey (Cardiff Devils/Downers Grove Township, Illinois)

#28 Ben O'Connor (Guildford Flames/Durham)

#41 Josh Batch (Cardiff Devils/Chelmsford)

#44 Sam Jones (Sheffield Steelers/Walsall)

#79 Nate Halbert (Hockeyclub Innsbruck/Nottingham)

Goalies

#1 Jackson Whistle (Belfast Giants/Kelowna, British Columbia)

#33 Ben Bowns (Cardiff Devils/Rotherham)

#35 Lucas Brine (Glasgow Clan/Chertsey)

[dustedmagazine]

Listed: Tangents

Sydney-based quintet Tangents have been playing together since 2010, but 2016’s Stateless LP marked a shift in the band’s method and sound, bringing their improvisational, collaberative playing into the studio to be reconsidered and reconfigured in the moment. This year’s Stents + Arteries EP showed the continued vitality of that approach and teased their new album New Bodies, of which Dusted’s Ian Mathers said their “post-everything mode of working is embracing rather than exclusionary [...] the result creates something intoxicatingly new.” To mark the occasion, all five band members have contributed to our Listed feature, with influences and interests running from U2 to µ-Ziq and back.

SHOEB AHMAD

Tony Conrad & Faust—Outside The Dream Syndicate

Leading up to the New Bodies recording session, I started playing bass guitar at points during our live set and really enjoyed locking into Evan with a singular pulse while the other three could let loose melodically. I wanted to pursue something similar in vibe when recording so that’s what you hear from me on ‘Gone To Ground’.

This album is pretty up there for me - not as ecstatic as LaMonte Young’s “dream music” works that Conrad was part of but also not as freewheeling as the Faust albums before this and definitely darker than both.

I love the myth of Jean-Herve Peron playing the second bass note on “From The Side of Man and Womankind” against Conrad’s wishes and I’d like to say that the loose implied funk of my bass playing is in a tribute to that.

U2—”Stay (Faraway, So Close!)” from Zooropa (1993)

Tangents is pretty left field with our musical aesthetics so this selection could be seen as a complete joke but I’ll own U2’s influence on me as a musician, even if it’s a bit naff to others.

A lot of the processes in place for the making of Zooropa (the album this track is from) remind me of how we like to work in Tangents - Ollie in a pseudo Eno role with his loops and live effects, melodic/harmonic improvisations and rhythm based studio jams - but the thing that resonates most about this song in particular is The Edge’s lullaby-like guitar riff that creates and then sustains the sweet sentimentality throughout. I’d say as much as his “single note through effects” style is basically the seed from where my guitar playing grew from, his fondness to write simple twee melodies on their best songs has influenced me more. I enjoy being able to do something similar to offset the more adventurous elements of our music and I’d say it comes to the fore in New Bodies more than before too.

Oh - did I say I was a sucker for the Wim Wenders video that was intercut with scenes from Wings Of Desire? I be honest, I think U2 may have more to answer for in making me wanna pursue an Art Pop vibe...

PETER HOLLO

µ-Ziq vs The Auteurs—”Lenny Valentino 3″ from The Auteurs vs. μ-Ziq (1994)

If we talk strings in Tangents, we’ll probably be referencing somebody like Godspeed, but as contemporaries I find it hard to describe them as an influential. I love their work but never for a second think of them when I’m playing the cello. So I’m choosing this gorgeous piece of faux-classical string pads with overdriven beats from the maestro Mike Paradinas aka µ-Ziq (it’s got very little to do with the Auteurs), because mid-’90s idm is in my blood, and Mike’s (and Richard D James’) plangent layered strings are always in there when I’m layered cello lines.

Amon Tobin—”One Day In My Garden” from Bricolage (1997)

Ollie & I have many discussions about our love of jungle & drum’n’bass. Ollie’s duo Icarus of course were contemporaries of early Amon Tobin, and a track from their first album appears on his Recorded Livemix album - serious props! Obviously the insanely chopped beats of the junglist pioneers, then Photek & Source Direct et al, contribute to our modus operandi(Photek joke, sorry), as do the more avant-garde sounds from Plug, Aphex, µ-Ziq et al. But Amon Tobin drew from his love of jazz and Brazilian music to create magnificent journeys in each track - the samba gives way to snapping breaks as, presumably, the garden becomes a jungle, and calm is returned by the end. Amon Tobin once regarded himself as a collagist more than a musician, and this collage aspect, albeit drawn from the instrumentalists in the band, is a big part of Tangents’ construction of our music.

EVAN DORRIAN

Arca—Arca

Everything Arca does has been blowing my mind for a while now. The production, rhythms, art, various (high-profile) collaborations, and on this record, his beautiful vocals, are all next level. Funnily/awkwardly enough I first heard Arca because his Soundcloud release (set/mix) Entrañas was reviewed next to our album Stateless by Pitchfork. A real honour to paired up with such a incredible modern artist, even just in web print. Looking forward to hearing more from him.

Scott Walker—Bish Bosch

This was and is a very important record for me, as is all Scott’s stuff from Tiltonwards (and Scott 4). When I first heard it I wasn’t sure how to take it all in and I’ve come to accept that I won’t. It’s a complicated and dark record that has a lot of wit and heart too.

ADRIAN LIM-KLUMPES

Tim Hecker— “I’m Transmitting Tonight” from Radio Amor (2013)

Tracks from New Bodies like ‘Immersion’ and ‘Oort Cloud’ spring from music like that of Tim Hecker. To call this music ‘drone’ or ‘noise’ is to ignore the delicacy of the rhythms of the layers, as well as the jazz-like piano chords that flutter around in his musical stratosphere. ‘I’m Transmitting Tonight’ drifts along but also has a driving momentum, depending on your perspective while listening. Our music too has different angles to approach it. When I produced ‘Immersion’, I enjoyed crafting the stretch, reverb and delay of the piano and guitar, while slamming the cello down an octave so it pensively mumbles below the stacked drum takes. This means you can hear this track almost as jazz, drone or minimal, depending on what your ear is drawn to. ‘Oort Cloud’ has similar cascading piano loops over cello and guitar drowning in sometimes noisy processing, all with an uptempo drum take layered in behind.

Bill Evans—Live in Helsinki 1970

“You use the intellect to take apart the materials, learn to understand them and learn to work with them. It takes years and years of playing so that you develop the facility so that you can forget all of that, and just relax and just play.” - interview during the filming in Helsinki, 1970.

The music of Bill Evans has inspired me for many years. His approach to harmony, melody and interplay is nuanced and emotive, and almost always a sense of calm pervades his music. Playing like Bill Evans, and thinking like him, is a lifelong pursuit. With Tangents, Bill’s philosophy of facility before play is spread across many domains. This includes pianism, a fluid approach to harmony and layering, and even the skills involved to intuit the use of effects pedals and software. The same goes for the others in Tangents - having a meta-consciousness of our band sound while improvising on stage or in the studio is necessary for all of us.

I’d love to see more live concert videos where the artist eloquently discusses musical approaches mid-set.

OLLIE BOWN

This is more of a discussion of records that I dream might be more explicitly inspirational in future Tangents records.

Alice Coltrane—Eternity

The loose funky joyousness that I associate with Coltrane is something I think we've started to explore in Tangents of late, though it is still quite latent. We don't really foreground solos too much though, which is something I like about our sound. I've been digging into her archives a bit lately and reflecting on how hard but rewarding it is to find that playful balance point where everything is poised on the verge of falling apart, as in the jammy madness and rhythmic pushing and pulling of Los Caballos. Many bands do this exquisitely and in one guise or another it's always been a strong interest for me, starting in my work with Icarus. There are moments where I think Tangents take it there, such as in the middle section of Terracotta. I look forward to exploring this more both in live improvisation and in studio post-composition. Then I love the fact that this record drops into a Rite of Spring passage (my favourite passage, seriously funky, excellently done). Also inspiration for future work: I'd love to work with Tangents to explore innovative covers and reinterpretations one day.

Pink Floyd—Wish You Were Here

You can't get more boring than to pick Pink Floyd as an influence. Is anyone still reading? But! Truth told I was having a melancholy moment the other day and I put on Wish You Were Here and for the umpteenth time in my life it just blew me away. Tangents' current work is nowhere near this carefully planned, but I hope we might engage in this kind of strict structuring in a future album. Nevertheless that kind of space and casual smoochy blueseyness is something I think we have explored our own way in tracks like Lake George and Gone To Ground, which I actually think is very Floydy. I love the pace of Shine on You Crazy Diamond, that sax solo bursting out of nowhere is stunning, verging on ironic, but completely loveable. I love how Pink Floyd do suites and guest appearances and carefully work the segues between tracks.

[affairesasuivre]

Le streaming du jour #1946 : Tangents - ’New Bodies’

Dans la foulée de l’EP Stents + Arteries, ce troisième opus de Tangents confirme le petit miracle d’osmose aventureuse du quintette australien, héritiers de Tortoise ou The Necks - voire dans les passages plus expérimentaux The Third Eye Foundation, quand le désespoir des orchestrations surgit de rythmiques liquéfiées comme sur Gone to Ground - capables d’irriguer du même souffle libertaire et mélangeur leurs méditations improv jazz aux textures irradiées (Immersion) et leurs épopées post-rock polyrythmiques aux arrangements poignants (Lake George, Swells Under Tito).

Le combo, où l’on retrouve notamment le musicien électronique anglais Ollie Bown du duo Icarus (déjà défendu à l’époque par Temporary Residence Ltd.), revient justement d’une tournée avec les séminaux Chicagoans du label Thrill Jockey et les lignes de vibraphone du pianiste Adrian Lim-Klumpes sur Lake George, les synthés goovesques et autres mélodies de guitare tropicalistes du génialement mutant Terracotta ou encore les accents stellaires du fervent Arteries ne trompent pas sur la filiation, avec toutefois un lyrisme plus prononcé chez les Australiens qui prend le pas sur l’abstraction des auteurs de TNT, par le biais notamment du violoncelle de Peter Hollo (pour le coup, on pense un peu à feu Slow Six, aussi).

Épique et feutré (la batterie et les percussions de l’hyperactif Evan Dorrian donnant le ton), vraiment jazz mais vraiment plein d’autres choses aussi (du dub à la folk en passant par la musique contemporaine répétitive à la Steve Reich), foisonnant d’instruments et de sonorités et pourtant d’une clarté sans faille (même sur le nébuleux Oort Cloud qui clôt l’album sur 7 minutes de bouillonnement impressionniste et onirique mené par un piano vibrant, des drones irisés et la guitare cosmique de Shoeb Ahmad), New Bodies est un disque de paradoxes, celui d’un groupe sans contraintes ni attaches qui suit le fil de son inspiration sans se soucier des étiquettes, pour le plus grand plaisir de nos oreilles toujours avides de territoires vierges à explorer.

Chef-d’œuvre ! 

[noise-rm]

Bloom from squidsoup on Vimeo.

A thousand spheres of light, each on a stalk and bobbing gently in the wind, fill a large clearing. The lights visualise waves of energy flowing across the space; acting in synchronicity, creating changes in ambience, choreographed patterns of light enveloping the space. The Garden comes alive in a bloom of energy and sound, acknowledging the depths of winter yet anticipating a still distant spring.

A symphony of 1000 voices Bloom consists of around 1000 individual spherical units, each comprising a wi-fi enabled processor, GPS, accelerometer, LEDs and speaker. So the units know where they are, they can listen, respond and communicate. Together, they form a spatialised audiovisual symphony of 1000 synchronised and connected voices – a symphony made of the Internet of Things.

Each Bloom can be placed anywhere; alone or in groups. At Kew Gardens, the piece occupies an 80m x 25m clearing, next up is a very different setting at Canary Wharf.

Background The project builds directly on our previous works ‘Remembrance’ (Wellington, New Zealand, 2015) and ‘Field’ (Welsh National Opera, Cardiff, 2016). But, whereas those projects consisted of uniform grids of monochrome red LED spheres that independently responded to the wind by changing brightness, Bloom is full colour, and more organic in its structure. Additionally, each node is location-aware and able to communicate, allowing it to be part of an overall coherent effect and choreography.

The team Bloom is a Squidsoup project, sponsored by Royal Botanical Gardens, Kew, and curated by Culture Creative. Squidsoup team: Anthony Rowe, Liam Birtles, Ollie Bown, Sam Fergusson, Chris Bennewith Hardware design: Erik Kettenburg / digistump.com Networking: Xirrus.com

[codame]

CODAME Featured Artists: Bill Hsu/Ollie Bown/raven

Ollie Bown & raven are 2/5 of the Sydney-based improv quintet Tangents. As a duo their live set consists of long-form improvisations around Bown's software that loops, layers and resamples raven's cello along with beats and sounds. Sets frequently move in abstract directions, but keep a melodic and rhythmic core. For their ATA set, Bill Hsu will work with interactive video that combines real-world footage with generative processes.

Ollie Bown: http://olliebown.com

Bill Hsu: http://unixlab.sfsu.edu/~whsu/art.html

Join us for a 5ENSES (+ sixth sense mystery experience) with Bill Hsu, Ollie Bown and Raven at CODAME 2013 ART+TECH Festival (Nov 1-2)

[hellosquarerecordings]

Tangents - I

A collective birthed from the meeting of friends and acquaintances to catch up and hang out, Tangents is an improvised music ensemble that negotiates a post-everything mesh of styles through its genre-crossing instrumentation and collision of musical backgrounds. Featuring current and former members from acclaimed and innovative groups such as Icarus, Triosk, FourPlay String Quartet, Spartak and 3ofmillions, their unique group dynamic and explorative qualities shine through with their every move. Their first release, I, is a recording made live in Sydney at Megaphon Studios back in October 2010 and marks the first steps made as a group. The original recordings were edited and mixed into shape by members Ollie Bown and Peter Hollo between 2010 and 2013 before being mastered with warmth and space by Casey Rice in Melbourne. I marks the first CD release by hellosQuare to be housed in a unique design created by Adam J Bragg and printed by the lovely folks at Stumptown Printers out of Portland, Oregon and is now available for purchase through our Bandcamp page. A DIGITAL DOWNLOAD VERSION OF THIS ALBUM IS AVAILABLE THROUGH NOT APPLICABLE HERE

[nofatclips]

Vessel by Tangents from the album Timeslips

[goalhofer]

2021 IIHF World Championships Great Britain Roster

Wingers

#5 Ben Davies (Manchester Storm/Cardiff)

#7 Robert Lachowicz (Manchester Storm/Nottingham)

#9 Brett Perlini (Nottingham Panthers/Guildford)

#14 Liam Kirk (Sheffield Steelers/Maltby)

#18 Lewis Hook (Nottingham Panthers/Peterborough)

#19 Luke Ferrara (Coventry Blaze/Peterborough)

#21 Mike Hammond (Coventry Blaze/Brighton)

#59 Ross Venus (Coventry Blaze/Birmingham)

#74 Ollie Betteridge (Nottingham Panthers/Nottingham)

#75 Robert Dowd (Sheffield Steelers/Billingham) A

#89 Ciaran Long (Manchester Storm/Birmingham)

Centers

#8 Matthew Myers (Sheffield Steelers/Cardiff)

#16 Samuel Duggan (Coventry Blaze/Reading)

#20 Jon Phillips (Sheffield Steelers/Cardiff) C

#63 Brendan Connolly (Sheffield Steelers/Canmore, Alberta)

#91 Ben Lake (Manchester Storm/Calgary, Alberta)

Defensemen

#2 Dallas Ehrhardt (Manchester Storm/Calgary, Alberta)

#11 Mark Garside (Nottingham Panthers/East Kilbride)

#13 David Phillips (Sheffield Steelers/Kingston Upon Hull)

#17 Mark Richardson (Rote Teufel Bad Nauheim/Swindon) A

#23 Paul Swindlehurst (Coventry Blaze/Blackrod)

#24 Joshua Tetlow (Nottingham Panthers/Frimley)

#28 Ben O’Connor (Sheffield Steelers/Durham)

#44 Sam Jones (Sheffield Steelers/Penticton, British Columbia)

#58 David Clements (Coventry Blaze/Coventry)

Goalies

#1 Jackson Whistle (Nottingham Panthers/Kelowna, British Columbia)

#33 Ben Bowns (Nottingham Panthers/Rotherham)

#34 Jordan Hedley (Coventry Blaze/Walsall)

[dustedmagazine]

Tangents — Timeslips & Chimeras (Temporary Residence Ltd.)

With a band name that evokes the digressive and, here, an album title that conjures up dislocations and comminglings both chronological and biological, maybe the most miraculous-seeming part of Tangents’ music is that despite manifestly being the work of many creative individuals working with different tools and métiers the whole thing can feel seamless and organic. Timeslips & Chimeras is an album assembled from improvised work and intensive and inventive post-production, one that sees over the course of its composition the band move from a quintet to a quartet, one released partially and digitally last year only to attain arguably its true form (and presence on physical media) in this one. Despite the wondrousness of the songs here, it and Tangents could be forgiven if the result was also a beautifully awkward patchwork, one that didn’t quite hold together. Instead, it often feels more like the stream of consciousness from some sort of supernatural, unitary musical mind, like one voice speaking to you in a beautiful but not fully comprehended language. Some records are a journey; this one might be more of an environment.

The more quotidian facts of its creation are worth noting; the first six tracks/almost 40 minutes here were indeed put out in 2020 as just Timeslips, and do work perfectly fine on their own. Recorded as the same quintet that made 2018’s fabulous New Bodies, mostly over one day in a studio in Sydney, those tracks flow from the ringing, exultant opening swells and pulses of “Exaptation” (an evolutionary term, the classic example of which is birds evolving feathers for warmth, and then developing mating displays and flight using them) to the shuddering ascents of “Old Organs” to the stutter-step burn of “Debris”. That session was shortly before guitarist Sia Ahmed left Tangents (she’s credited with performances on all of the first half and the first new track here, and arranged “Debris”), and while that raw material still informs and is used in the Chimeras tracks there’s an even heavier focus there on fracturing and mutating that material in the studio, whether it’s the dark, shifting blurs of “Ossicle,” the flutteringly jazzy “Lost Track” or the gently accumulating beat of the closing “Wonder”. When you know what to listen for, one can pick apart the slightly different compositional and sonic strains on the two halves, but played as a whole all 76 minutes feels like the same restlessly protean whole, locking into and out of grooves, sifting through sounds for pockets of beauty but being unafraid to cut those spells short and move on, somehow staying loose (in a searching sense) and tight (in a finding the pocket sense) in the same moments. 

Throughout the qualities of the individual performances and creative sensibilities are clear, Ahmed’s guitar but also Evan Dorrian’s drums, Peter Hollo’s cello, Adrian Lim-Klumpes’ piano and Ollie Bown’s software (as well as the various other instrumental and studio roles played by all five, and then all four). Tangents are still a band who appear equally and admirably untempted by the false rewards of either treating their initial interplay as unimprovable or of needing to fuss with absolutely everything so no trace of that original interplay remains. The outcome is something that feels as improvised as it is composed, as live and spontaneous as it is shaped and processed, as inevitable as it is unpredictable. Timeslips & Chimeras ultimately feels simultaneously like something that had to have been crafted in a lab and something that could only be encountered in the untamed wilds; there’s truly very little else like it. 

Ian Mathers

[nofatclips]

Old Organs by Tangents from the free Temporary Residence Ltd. 2020 sampler

[nofatclips]

Risk Reaps Reward by Tangents, recorded live at Melbourne's radio Triple R - 102.7FM

Ready

Recast

Reset

[goalhofer]

2019 IIHF Worlds Great Britain Roster

Wingers

#5 Ben Davies (Guildford Flames/Cardiff)

#7 Robert Lachowicz (Nottingham Panthers/Nottingham)

#9 Brett Perlini (Nottingham Panthers/Sault Ste. Marie, Ontario)

#10 Robert Farmer (Nottingham Panthers/Nottingham)

#11 Joseph Lewis (E.S.V. Kaufbeuren/Newport)

#14 Liam Kirk (Peterborough Petes/Maltby)

#18 Ollie Betteridge (Nottingham Panthers/Nottingham)

#20 Jon Phillips (Sheffield Steelers/Cardiff)

#21 Mike Hammond (Manchester Storm/Altrincham)

#91 Ben Lake (Coventry Blaze/Coventry)

Centers

#8 Matthew Myers (Cardiff Devils/Cardiff)

#12 Robert Dowd (Sheffield Steelers/Billingham)

#19 Colin Shields (Belfast Giants/Glasgow)

#27 Luke Ferrara (Coventry Blaze/Peterborough)

Defensemen

#2 Travis Erhardt (Manchester Storm/Glasgow)

#4 Steve Lee (Nottingham Panthers/Nottingham)

#13 David Phillips (Sheffield Steelers/Kingston Upon Hull)

#17 Mark Richardson (Cardiff Devils/Swindon)

#23 Paul Swindlehurst (Belfast Giants/Blackrod)

#26 Evan Mosey (Cardiff Devils/Cardiff)

#28 Ben O’Connor (Sheffield Steelers/Durham)

#54 Tim Billingsley (Nottingham Panthers/Nottingham)

Goalies

#1 Jackson Whistle (Sheffield Steelers/Belfast)

#29 Thomas Murdy (Cardiff Devils/Whitley Bay)

#30 Ben Bowns (Cardiff Devils/Rotherham)

[hellosquarerecordings]

Abstraktions III

hellosQuare recordings returns to the Street Theatre in 2012 to take over the foyer and bar with a four show reprise of their successful series from a few years back - ABSTRAKTIONS. 

Saturday 22nd September reprises a collaboration between Sydney jazz improviser Adrian Lim-Klumpes and renowned live electronic artist Ollie Bown last year for a special excursion into mind melting manipulations and tonal wonders.

Also on the night, the organic collage duo Cold House launch their new self titled recording - out on hellosQuare - and local musicians Andrew Fedorovitch (saxophone), Daniel Kim (guitar), Reuben Ingall (computer) and Luke Keanan-Brown (drums) come together in fury and in meditation to perform in a unique quartet for the evening. 

Starts 8pm, tickets $10 - www.thestreet.org.au or 6247 1223 for bookings, tixs also available at door.