Tuesday 14 February 2017, 7.30pm
David Burraston (aka NYZ, Dave Noyze, Noyzelab, Bryen Telko) is an award winning artist/scientist working in the areas of technology and electronic music since the late 1970s. His experimental arts practice encompasses field recording, landscape-scale sound art, chaos/complexity, sound synthesis and electronic music. He performs, lectures, conducts workshops and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science.
YOKE II is the second in an ongoing series of recordings on Earshots Recordings, presenting a complete, unabridged documentation of John Edwards & Tom Wheatley’s work together - two radical double bass players, both living in London. This will be their third concert. Their previous work can be heard here - https://earshots.bandcamp.com
David is currently engaged in a Regional Arts Fellowship. This Regional Arts Fellowship is supported by the NSW Government through Arts NSW.
David Burraston's highly original form of experimental research music appears on numerous cult labels such as ALKU (in collaboration with Russell Haswell), Important Records/Cassauna, Taiga, CPU/Computer Club, .Meds, Cataclyst, Engraved Glass, Feral Tapes, Tochnit Aleph, Gamma Mine, Beta Bodega Coalition, Sevcom Edition and featured in The Wire Magazine's Below The Radar series.
David has worked with many diverse collaborators such as Aphex Twin, William Barton, Alan Lamb, Chris Watson, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, MIT Media Lab and the Australian Broadcasting Corporation. In 2014 he independently published the legendary "SYROBONKERS!", the most technical and in-depth interview ever given by Aphex Twin.
His 2006 PhD thesis (Generative Music & Cellular Automata) developed and applied fundamental new concepts, arising out of generative music practice, to a key problem in complex systems. This has served as a foundation methodology for creative practice and complex systems
research. He is also a peer-reviewer for the MIT Press journals Leonardo Journal, Leonardo Music Journal, Computer Music Journal and
on the editorial board of Leonardo Transactions. His current work is aimed at tackling more key questions in complex systems from a creative practice perspective, drawing inspiration from natural and artificial complex systems
David is a founding member of the Electronic Music Foundation Institute (www.emf.org). He was part of the team that designed and built long wire installations at The WIRED Lab and is a member of the Board of Directors (www.wiredlab.org). He has been operating Noyzelab as an independent art/science music studio since 1981 (www.noyzelab.com) and to the surprise of many is even on twitter @noyzelab
Tom Wheatley (b. 1991, London) is a composer and improviser, operating in the fractious and fertile interfaces of acoustic and digital sound, extending instruments via technique and technology. Beginning with the double bass, he also works with synthetic sound and processing, and plays a wide selection of instruments in collaboration with a broad range of performers and instrumentalists, from long-standing duos to one-off improvisations.
“The relationship between acoustic instruments and technology is historically awkward - everything is compromise or imitation. I want to turn that upside down. Instead of reproduction or expansion of a notional acoustic ideal, I’m interested in what happens when the parts are viewed as equals, and serve each other's potential.”
His score as composer for Giulio Bertelli’s striking debut feature film Agon (2025) was released in 2026 on PAN records. Winner of the FIPRESCI Prize (International Federation of Film Critics), the film is a triptych of three female athletes preparing for a fictional Olympic games. Straddling fiction and documentary, the score reflects the film’s hyper-focus on the gesture of sports performances, each protagonist mirrored by an instrumentalist: fencing with cellist Ute Kanngiesser; rifle shooting with saxophonist Jean-Luc Guionnet, and judo with percussionist Seijiro Murayama, with his bandmate Grundik Kasyansky on electronics and Harry Gorskí-Brown on bagpipes completing the chamber group.
Prior to Agon he worked on scores with award-winning composer Daniel Blumberg, including the Oscar and BAFTA winning score for Brady Corbet’s The Brutalist (2024), as well as director Mona Fastvold’s The World to Come (2020), and The Testament of Ann Lee (2025), for which he played viola da gamba and other early European string instruments.
His active projects as a musician centre around the duo Tennota with Grundik Kasyansky, formed in 2019. Once described as ‘half techno, half free jazz’, the project is about the generative friction between physical and digital arenas. They take primary materials – gut strings, sine waves, tree sap, feedback – and engage them with contemporary technologies, towards a taut and nebulous rhythmic language. They have released albums on Accidental Meetings, Cafe Oto’s TakuRoku, and most recently a collaboration with artist and musician Rosa Anschútz on Meakusma.
Other projects include an ongoing collaboration with Italian fashion project GR10K. Among their collaborations was Stringent Manners, a performance at Auditorium San Fedele for the launch of GR10K SS25: Nine Pounds of Dead Landscape. Wheatley worked on musical direction, performance, and co-composition with Andrea Slaviero, choreographing students from the Milan Conservatory as both models and instrumentalists for this ambitious six hour piece, which harnessed the students boredom and frustration to shape the performance. He has also worked with fashion designer Charles Jeffrey’s Loverboy label, and in Cast-On with Ilana Blumberg, a duo that collaborated with a revolving cast of practitioners across music, fashion, set design, photography and theatre to build critical environments. Their last project was Dresser Music, a film for Cafe Oto. Set at the margins of a photoshoot for Blumberg’s 2021 knitwear collection, it investigates both the unseen layers of performance that make a photograph, and the unheard undercarriage of background music, a piano rambling through incomplete references.
He also works with Sarah Hartnett (Ghostlore of Britain), as Vesta Payne. They released mlybdmncy on Doyenne Books in 2023, a project that manifested as an EP and a limited run of metal objects. Molten pewter was cast directly into water, and the process was meticulously recorded. The sounds were then gathered and “recast” into the accompanying EP.
Growing up in a multi-generational family of musicians, he is a seasoned instrumentalist. Over the years, he has collaborated and performed with stalwarts and luminaries of contemporary music, including Eddie Prévost, Billy Steiger, Ute Kanngiesser, Adam Christensen, Jim White, Okkyung Lee, Evan Parker, Ilan Volkov, Steve Noble, Sachiko M, and John Edwards, with releases on OtoRoku, Matchless and Earshots.
John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Evan Parker, Roscoe Mitchell, Sunny Murray, Derek Bailey, Joe McPhee, Lol Coxhill, Louis Moholo, Peter Brötzmann, Mulatu Astatke, Jonny Greenwood and countless others.
"I think John Edwards is absolutely remarkable: there’s never been anything like him before, anywhere in jazz." - Richard Williams, The Blue Moment
Andie Brown is a multidisciplinary artist and researcher whose work explores resonance, tone and time though long-form composition for sound installation and performance with glass and electronics.
Whilst Andie has been performing live for over 30 years, she began to work with sound installation in 2016 and this has become the primary focus of her work. Andie has performed live or presented work at De la Warr Pavilion, Cafe OTO, Tectonics, Full of Noises, Colour Out of Space, and the National Science and Media Museum. Andie was recognised for her work by the Oram Awards in 2019.
Phil Julian is a UK based composer and improviser active since the late 1990’s principally working with modular electronic devices and computers.
Releases have appeared on labels including Superpang, fancyyyyy, Entr'acte, Harbinger Sound and The Tapeworm.
