Helen Eadie
Helen Eadie performs with Melbourne ensemble re-sound on electroacoustic and contemporary chamber music that folds acoustic playing into beats, computer processing and site-recorded sound. Their In C is slick, hypnotic and built for the long haul.
Across re-sound’s discs she helps carry Terry Riley’s classic into electronica dance rhythms, electric bass and guitar and pre-recorded sequences, and she appears in programmes of new Australian work by the group’s own composer-performers. The music ranges from pointillist chamber textures and open, improvisatory modules to hybrid pieces where live instruments meet synthesis, drum samples and urban field recordings. Clarity and trance sit side by side: polished ensemble playing held inside dense, changing colour rather than conventional song form.
Performing as re-sound
re-sound has established itself as one of Australia's most progressive contemporary music ensembles. Its thought-provoking, challenging and dynamic performances explore the sounds of our time across a wide range of genres, styles, and performance contexts.
Quiet on the Bridge
Like the group's earlier releases, this disc ranges across electronic and electro-acoustic music, contemporary chamber writing, interactive computer pieces, open indeterminate works and improvisation.
Ephemeral Densities
ephemeral densities is re-sound's third CD, devoted to new Australian work by members Steve Adam, Melanie Chilianis, Paul Moulatlet and Thomas Reiner. It brings together contemporary chamber writing, computer music and popular electronic idioms.
In C
Melbourne ensemble re-sound gives Terry Riley's minimalist landmark In C its first electroacoustic reading, folding chamber forces into beats, sequences and electric bass and guitar.
Helen Eadie also appears on
Hard Chamber
A retrospective of chamber works by Melbourne contemporary composer Thomas Reiner, written for varied small forces. Soloists from Monash University and ensemble re-sound present music that asks for close, unconditioned listening.