Release date January 14   2019                                                             Splitrec 28 CD and DL

parasite – Rhys Mottley // Prepared guitar

Splitrec proudly presents the first of a series of releases from a new generation of Sydney improvising experimenters.

Rhys Mottley crouches above his acoustic guitar bowing, scraping and plucking with numerous and disparate objects to mute, distort, activate and stop.


The body of the instrument is riddled with parasitic attachments such as street sweeper needles, bottle caps, blu tack, drill bits, chopsticks and brackets collected by the artist’s creative eye in day to day life. There are no electrical devices, just gesture exciting objects and strings.

The resulting sounds are informed and partly determined by movement – his body wriggles and reforms around the guitar, examining it from multiple angles. The rhythms created by this gestural dance are complex and unpredictable but the harmolodics remain static – there’s no shredding here, despite his history as a metal guitarist. 

While these gestural techniques are innovative, it’s his unique focus on the three pieces Gut Feeling, Throat Feeling and Ear Feeling that we at Splitrec find so compelling. With mics close on either side, every detail of the resonating guitar and distant traffic, trucks, cars and planes of Tempe Jets and surrounds are revealed and listened to with forensic patience.

The choice of location is important. The abandoned sports club in Sydney’s South is home to a community of improvisers including the Splinter Orchestra and the Prophets with which Rhys is deeply involved. Through rich time spent there he has developed an understanding of its sounds, its feelings and its life.

Despite the performative immediacy there is something deeply unhurried in his listening and playing that makes the three pieces resemble installation works. It’s as if he is finding material in the chaos of each new tuning and set up, and is as excited by the results as anyone else.

In parasite Rhys Mottley expertly adapts and exploits his host instrument for its sonic resources, or perhaps it is his guitar which has insinuated itself into his body to feed on his imagination, spirit, creativity and to utilise his motoric dexterity. 

Amanda Stewart

amnada Canberra 2.JPGAmanda is a poet and vocal artist. Much of her work in contemporary music is informed by ideas from linguistics, philosophy and science.

She’s recorded material at studio 301 in Sydney for a solo splitrec release – it’s in post production.

Over the years Amanda has created a diverse range of performances, publications, film and radio works, locally and internationally, working in music, literature, broadcasting, sound poetry, theatre and new media environments.

She has performed her solo works at numerous festivals including NowNow, Sydney, the Melbourne Festival, Donaueschinger Musiktage, Musica Viva, Munich, Weltklang, Berlin, the Geneva Festival, Proposta, Barcelona, So Ho Festival, New York and the Tokyo Sound Poetry Festival.

She has also collaborated with many musicians and artists including Cor Fuhler, Natasha Anderson, Stasis Duo, Roslaind Hall, Dale Gorfinkel, Jim Denley and Peter Farrar and is a cofounder of the Australian ensemble, Machine For Making Sense and the Netherlands trio, Allos. Her book and CD set of selected poems and vocal works, I/T, (Splitrec 5/Here and There Books) won the Anne Elder Poetry Prize.