line up 2025 - first release
Lineup 2025(more tba)
Anthony Guerra
Anthony Guerra (Sydney, Australia) sings and plays guitar and electronics. Aside from solo work, he currently plays in the band Love Chants, in a duo with Mark Anderson, and in Sodium Tail, a new trio with M. Hopkins and Peter Blamey. He has previously released music on labels including Regional Bears, C/Site, I Dischi Del Barone, Carbon, Index Clean, Alberts Basement, Quemada, RIP Society, BreakdanceTheDawn, PseudoArcana, CMR, Impermanent, Digitalis, Meenna, and more. His recent release “Cold Victory - Kingdoms III” brings together numerous facets of the idiosyncratic musical practice Guerra has developed over the last two decades. It synthesises Guerra’s distinctive approach to song with aspects of the electro-acoustic improvisation he focused on in the early 2000s, the tumbling percussion foundations of the Love Chants trio with Michael Zulicki and Matt Earle, and even some distant echoes of crunchy free rock projects like Your Intestines. In its own humble and intimate way, Cold Victory – Kingdoms III stakes out a unique space between the emotional immediacy of song, the freedom of improvisation, and the radically expanded electro-acoustic sound field. Twenty years after Guerra’s first published forays into this territory, which he shares with only a few like-minded souls, the results are richer than ever.
Dream Chambers
Dream Chambers uses modular synthesisers and her voice to create a sound described by The Nashville Scene as…” full of warm, organic emotion, alternating between tuneful musicality and raw, spiritual fervour". Initially known in Aotearoa as a singer-songwriter she relocated to Nashville, Tennessee in 2012 and encountered a vibrant underground electronic music scene which sparked a transformative journey into the world of synthesisers. A seasoned performer, recent highlights include a tour of the US performing a live score of the 1920’s film ‘Nosferatu’ and a concert with classical ensemble Chatterbird featuring six of her compositions expanded for flute, clarinet, violin, viola, cello, and harp. She currently lives in Te Whanganui a Tara working as an educator and composer for film and television and co-facilitating Techno Echo a collective creating space for women and gender-diverse creatives to learn about music technology.
Finance
Just in it for the money. Three piece.
Ghost Bells
Ghost Bells are a free noise rock group made up of three of Dunedin's longstanding experimental/underground musicians: Peter Porteous, Robbie Yeats and Mick Elborado. Formed from the ashes of seminal free noise band Eye and early southern psychedelic pioneers the Terminals, Ghost Bells are improvised and unpredictable. Anchored in the drumming of the Dead C’s Robbie Yeats, together with the tactile guitar work of Peter Porteous and the hypnotic bass playing of Mick Elborado they conjure a wild and visceral experience.
Kahu
We're mapping terrain where the arc begins to whorl. A learning of crests. Kāhu - guitar and voice.
Kraus
Kraus (aka Pat Kraus, he/him) is a producer of psychedelic music based in Tāmaki Makaurau. Since the turn of the millennium he has released over twenty solo albums, played in numerous bands, and performed throughout Aotearoa, Europe and Australia. In 2014 he established the Musical Electronics Library, a free lending library of electronic musical devices based at The Audio Foundation. Drawing on a wide range of influences from around the world, Kraus conjures a rich and varied sound-world through minimal, modal compositions for guitar, synthesizer and drums. His recent synth-focused work melds sci-fi sound-design and hypnotic polyrhythms to create new forms of head-spinning electronic music.
Mark Anderson & Anthony Guerra
Australia and Aotearoa join forces in the music of longtime collaborators Mark Anderson and Anthony Guerra. Instruments, electronics, voices and sounds foraged from the pair’s everyday surrounds come together in unexpected conjunctions and dreamlike chance meetings. The dedication to genuine exploration of the oddities of lo-fi sonics that distinguishes Anderson’s work in Greymouth is a strong presence, with that distinctive fizz of amped-up smartphone recordings sitting alongside analogue murk and the occasional sunburst of percussive clarity. Guerra’s background in austere electroacoustic improv can still be glimpsed in the extreme frequencies, static textures and unsettling dynamic movement favoured, but any highbrow fussiness has been long left behind in favour of an oozing sonic slime as likely to occasion stunned hilarity as meditative contemplation. They connect to a tradition of studio exploration where rock music is twisted, erased and fragmented into strange new shapes: think Milk From Cheltenham, Dome, LAFMS, or late Shadow Ring. Anderson’s vocal contributions, ranging across incompressible mumbling, lonely Jandek-esque warbling, guttural howls and wheezing sound poetry, possess an unhinged energy that takes everything just that bit further ‘out’. If the idea of Ferrari’s Music Promenade bypassing the marching bands to take a tour of the outer limits of the Xpressway and Alga Marghen catalogues sounds too good to be true, look no further than their latest release, “Earth Diffusion”.
Microsoft Voices
Microsoft Voices is a punk laptop trio of Nell Thomas, Daniel Beban and Jonny Marks. They use only the text-to-speech function of Apple Mac's very basic 'Text Edit' software to create multi-layered machine vocalisations, exploring the distant hinterlands of non-meaning and unvoiced speech sound.
Misled Convoy
Since 1985 Misled Convoy aka Michael Hodgson has been exploring delayed sound via many different inputs. Over the last few years he has been revisiting real time dubbed out multi channel live shows pushing sounds around spaces. For the 2025 edition of Lines of Flight he will be reaching back to his Tinnitus days by exploring sounds created via Piezo Transducers and long delay chains in a surround sonic environment.
Pumice
Since the early 1990's Stefan Neville has recorded & performed iconoclastic pieces of broken & repurposed pop song as Pumice. He delicately smears a jangly Pakeha blues with scorched Pacific skiffle & droning NZ folk. Usually presented on multiple instruments played at once, with a security blanket of grot & tape saturation through crumbling shitty speakers. For Lines of Flight Stefan will be joined by Jade Farley (Violin/Keyboards/Guitar/Vocals) & Rosy Parlane (Bass).
Rosy Parlane
Rosy Parlane is a musician from Tāmaki Makaurau Auckland who began playing music in the early 1990s with the avant-garde rock trio Thela. He subsequently began working with abstract electronic based music, both as a solo artist and in the duo Parmentier. Rosy’s soundscapes are manipulated from field recordings, pianos, guitars, household objects and other instruments. In addition to his solo work, Parlane has also collaborated with artists such as Fennesz, Philip Jeck and Eddie Prevost. More recently, he is a member of 86-92 with Paul Toohey and plays bass in the live iteration of Pumice.
Shape of a Mouth
Imagine a curved line, like the top edge of a crescent moon, sometimes forming a gentle arc and other times stretching wider. This outline can open and close, resembling the entrance to a cave or the slit in a coin purse. The boundary is often soft and flexible, able to shift from a narrow seam to a broad oval. The inner area is typically darker than the surrounding surface, and the whole form sits horizontally, with the ability to express many shapes - from a tight line to a wide, open curve. Shape of a Mouth is a free-music duo of Ōtepoti based violinist and saxophonist, Ro Rushton Green and Tamaki Makaurau based pianist, Hermione Johnson.
Slightly Imperfect - The World of Ivor Cutler
Slightly Imperfect consists of Greg Malcolm and Jenny Ward. Together they will present Ivor Cutler's songs in a surreal and gentle playground of laughing boxes, toys, gongs, bells and whirring pipes. Along with theatrical elements they aim to create a strange and intriguing performance. Greg Malcolm is a guitarist/improviser with a long history. He has released many CDs and DVDs including Just Like Jim (2022), Jazz School Monotype Records with Eugene Chadbourne (2010), and Six Strings with Tetutzi Akiyama (2007). He also contributed a chapter in ‘echtzeitmusik berlin’ published in 2011 on the ‘echtzeit’ Berlin music scene. Jenny Ward is a singer and performer who uses toys, objects, and extended vocal techniques in her performance along with theatrics and characterisation. She has been featured on many CDs, and toured and performed in New Zealand and Europe.
The Aesthetics
The Aesthetics. What can be said about this band? Formed in Otepoti 1995, The Aesthetics embrace the snarl and snot of bands like proto-art-rockers Electric Eels, the scum-rock of the Murder Junkies, the repetition and industry of post punk, the rock-death of Am-Rep / Touch and Go, the gurgling alchemy of the nascent Port Chalmers noise scene, all the while watching and parsing audience behavior like maddened sociologists journalists/philologers/sloganeers ... Middleton played the first Lines of Flight in 2000 under the Crude moniker, and returns with fresh players twenty-five years later.
The Escalation
The Escalation is a guitar duo consisting of Peter Wright and Bruce Russell. Bruce can’t play guitar properly and Peter doesn’t try very hard. Peter Wright has had a long career - emerging from the post-punk Industrial miasma of early '90s Christchurch into an open landscape of drone-based guitar improvisation. Bruce Russell's career is even longer, hobbled to the looming shadow of the Dead C. His solo guitar playing is really the relevant touchstone here, pointing the duo towards the open fields of improvised sonic mischief. Together they explore the outer reaches of audible space, boldly going where only even bolder tone-wranglers have gone before. Together they gleefully take an axe to any preconceived notions of what guitar music is, or even what a guitar is. Purists beware!
Tjopi
Popi Newbery (Tūhoe and Ngati Porou) and Tjalling de Vries collaborate to create semi industrial layers of field recordings, synth, sheetmetal feedback and looped samples that provide a sinister soundscape for Popi's toi kupu and reinterpreted waiata in both Te Reo and English.