Founding Lost Domain member Simon Ellaby moved to Tasmania last week. As I write, he'll be holed up in his mountain retreat outside Hobart, reading-slippers on, packing down a pipe. He's from another time is our Simon. Breaks in his pipes by curing them in brandy. I love that.
So Simon has left town and I've been thinking about those nights when we convened with Eugene Carchesio to smoke trout at the Northgate sheds - a collection of fibro industrial buildings in a northern suburb of Brisbane. Dragging gear up the precarious flight of stairs into a small room with a big PA. I can still smell the fusty carpet.
At Pestorius Sweeney House, August 2005
We took our first communion in July 2004. It was a rhythm thing. Little instruments, big sound. Casio and miniature guitar. (Quarter-size violin came later). Eugene's first pummel on the tubs. It was loud and it felt good. The first-time rush of blood. I pulled into the driveway at home later that night and sat in my car with ears ringing, top of the world...
We called ourselves G55. It was the model of headphones we had each coincidentally bought on sale. No mystery there.
G55 played a handful of shows in our 18 month existence, our first in the carpark behind Jamies Cafe on 19 March 2005. Pumice played too and jammed with us. I have the recording. In fact, I have a wad of G55 recordings in the Kindling archive under my bed.
Reunion gig, Tongue and Groove, Feb 2007
We only released our first two sessions as cdrs on Kindling - lovingly boot stamped heavy card covers - imaginatively titled G55-1 and 2. No mystery there either.
The archive suggests we stopped hitting the Northgate sheds on a regular basis around December 2005. Here are a couple of unreleased favourites that distil the essence - smoke pouring outta Simon's little vintage Goldentone. In memorium...
Three works from Special Mechanism for Universal Uncertainty, a
suite of 10 cut-poems by Sandra Selig with accompanying recordings by Leighton Craig.
Exhibited at Before and After Science: 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia, February - May 2010 (review) and Milani Gallery, Brisbane, November 2010.
(We are discussing a set of prints with lathe-cut record - wishful but possible!)
When wandering punk minstrel Pumice recently tried to fly home to Aotearoa from Sydney, his plane was grounded by plumes of Chilean volcanic ash that had wandered 9 000km across the Pacific.
Being himself a solidified volcanic emission and finely attuned to the convergence of tectonic plates, he had 'sensed' the grumblings of Puyehue and the imminent stratospheric mass several days prior to its arrival. Aghast at the prospect of being trapped south of the border, he had pre-purchased a bus ticket to deliver him from the perils of the Harbour City into the arms of his kin folk in Brisbane, The Deadnotes.
Sixteen hours later, and following several bags of his favoured Smiths crinkle cut crisps and roadside stops for milky cups of tea, a Trans-Tasman summit of sorts transpired in Milani Gallery, captured for posterity be ye faithful archivist Sandy Seashore Selig.
With resident string-bender Mr E collecting mandarines by moonlight at his country retreat, axe duties passed to our man from the Shaky Isles, who garnished with heavy delay throat sung doo wop. Here's a wee dram. Eyes and ears out for release of the full session later this year...
A Nathan Shepherdson post-it poem, found between the high-hat cymbals during The Deadnotes performance at the opening of Madonna Staunton's Homework exhibition, Milani Gallery, 27 May 2010. How he posted it remains a sweet mystery.