From 2008 Laura Altman and Monika Brooks’ duo excited the Sydney experimental scene, (of which they were important contributors), with quiet, ambiguous, ephemeral music – they treated duration as if it were precious.
Spawned from the Splinter Orchestra (splitrec 17), and mutated by current viruses, Altman’s clarinet and Brook’s accordion fused, not with lines, but with pools of sound, coexisting in an ecology that had no clear beginning or end – a calmly focussed, infinite field. As such, it was a seminal Sydney impro project.
In January 2009 the Berlin-based pianist Magda Mayas collaborated with them on a memorable performance at Sydney’s Now now Festival. Mayas injected not only an array of startling sounds, but insistent motion to contrast the stasis.
Two years later they reconvened as a band for an intense period – a return appearance at the 2011 Now now Festival, gigs around Sydney, the SoundOut Festival Canberra and finally this studio session.
Great Waitress initially possessed a dual processor – the long durations and static patience of the duo and Mayas’s compulsion for change. This created a vital rub – there was an edge between these world views. But as they evolved over this period, this duality splintered into multiplicity.
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