Funkmeister G.

1. Talk about your first significant musical or guitar experience.
It's probably a hideous cliche but I was growing up around about the Nirvana era & it got
me in there where the redundantly stupid metal fashions of the immdeiately previously
time certainly didn't.

2. Talk about the first guitar/instruments you took a focused interest in.
For my 16th birthday I received a Yamaha c-40 acoustic. It was only then that I started
playing.
    a.  What were you doing with it/them?
I was teaching myself unorthodoxly to get the sounds I wanted out.
    b.  How did people around you respond/react?
Whether those sounds were what others expected was less important, although I could
basically play most tunes by ear.
    c.  Was it fun? - What made it fun?
Yes, though I wanted an electric instead [only finally buying 1 last year]. I could still stretch
the strings where they ought not go etc.

3.  Formal training? - Lessons? -
About 4 weeks w/ the bloke from the guitar shop, didn't make much of an impression &
to this day I don't actually know any chords & have no sight-reading ability, or even what
to call the strings. I'm quite primitive & instinctual w/ it.
 Significant "tutor"/"mentor" experience?
Not really but later on the character known as Bumscuzz provided both inspiration &
support + the odd handy hint.

4.  Have you taught?
No. I would just say new players should attack it from their own angle uniquely instead of
conforming to whoever's the currently hip style dictator.

5.  Initial recording-experience memories?
My high school ran an activities week @ the end of the year & 4-tracking was 1 option. I
did for 3 years in a row. The 1st was before getting that guitar so was extremely
experimental in a warped version of REM's It's the End of the World As We Know It [& I
Feel Fine] which included hitting the bass w/ a drumstick & sampled tv snippets where
the solo would be. Unfortunately that tape disappeared. Significant parts of Choose Yr
Own Dementia come from the latter sessions though.

6.  What gear/stuff do you play in a performing context?
     a.  Presently.
I don't get a lot of gigs but I just use the electric, a Monterey imitation strat w/ small
Squire amp & no pedals, maybe borrowing a keyboard or drum machine also.
     b.  In the Past.
My history isn't long enough yet.
     c.  Future aims and objectives?
Getting more contributors involved & expanding my ideas into something more
composed maybe.

7.  How, if at all, does the performance paradigm differ from the zeitgeist during the
documentation/recording process?  Which do you prefer, and why?
Well, in my case I haven't been watering down my stuff to what might or might not be
commercial & the spontaneity is retained on repeated listens as admittedly a lot is made
up as I go along.

8.  Five favorite recorded songs/compositions (by others).
Voice Poetry by Ornette Coleman
Dog Breath In The Year of the Plague by Frank Zappa
Schizophrenia by Sonic Youth
Safe As Milk by Donnie Vliet
Atlantis by Le Sony'r Ra

9.  If you could edit your ten favorite recorded/experienced sonic moments* together into
a seamless loop, what would they be?
1. opening squealy dirge of SY's Starfield Road [vinyl scratching]
2. Beck's harmonica solo in the song 1 Foot In The Grave [vinyl scratching]
3. I only just heard it yesterday but Sun Ra's Exotic Forest off the Nothing Is... lp is quite
hypnotic so a minute of that
4. anything off On The Corner to match above
5. the ending crescendo of Nirvana's Aneurysm
6. Mark e. smith saying "I took a jar of coffee & then took some o' these-uh"
7. opening of Coltrane's Leo [Interstellar Space cd bonus track]
8. my own distorted bongo solo
9. any line of Beefheart's Orange Claw Hammer
10. the sound of changing stations on the radio
* [for example, there are some 5-15 second long feedback moments in a particular Brian
May solo I like that are truly incredible]

10.  What are your feelings about improvisation?
Very important & it annoys me when people hold it in contempt saying everything must
be little dots & squiggles on paper to be legit. Soemtimes it's more successful than
others, depending on the player's mood, who else is playing etc.

11. What strategies have proven effective to you in terms of successful group
interactivity?
none so far.

12.  Are you friendly with any resources, publications, or collaboratives which might be of
utility or interest to our readers?
There's a great zine out of Melbourne called The Taped Crusaders that deals exclusively
w/ home recordings to the extent that he won't review anything that has ventured near a
studio & my stuff it conforms to anything @ all, does to this so far. postal: P.O. BOX 356
BRUNSWICK 3056
VICTORIA  AUSTRALIA. web: http://vocabularinist.com/tapedcrusaders.html
Also DJ Urinal Cake likes to remix stuff thru the blender & will send you free tapes etc:
PO Box 341, Fivedock NSW 2046, Australia.
Lastly Mr Leigh Julian runs Smell The Stench tapes which caters especially to the outer
fringes of hardcore random unlistenable churning noise & will release yr recordings like
he's doing w/ mine: don't have the address on me right now.
 
13.   On what project(s) are you currently involved?
A duets cd w/ the writer of the these questions [Sir Hart], maybe another w/ Benjamin
Horrendous, a Sonic Youth tribute Sonik Deaf on my label Bulbous Confusion, I got a
track on the Devo tribute that's out there now - Spudsuckers! [Time Out For Fun], making
an extended tape called LOOPARAMA for Smell The Stench, the best mix tape in the
world ever - LIVIN' LA VIDA LO-FI!, probably a couple more things.

14.   How can interested readers learn more about your work?
    a.  URL(s)?
http://bulbousconfusion.com http://mp3.com/fmg
    b.  Postal Address?
Graham Halliday,
Badham Building A16,
University of Sydney
NSW 2006
Australia
    c.  Available published work?
Explaining The Name / Death Valley '69 cd single, Mix It Like You Mean It 1 hour tape,
Live In Marrickville 7", Approximately Demented mp3.com cd.

Thanks very much,
Funkmeister G.