“                    ”[sic] Tim Goldie/Daniel Beban
Book [210×148 mm; 96pp]/
Triple CD (E145)

Selected tracks from Slakes

Daniel Beban is a musician and sound artist who lives in
Wellington, New Zealand. He performs on a number of
instruments in groups including Imbogodom, Sign of the
Hag, Little Wet Horse, Doctor Quirky’s Goodtime Emporium
Band, The Mantarays and Slakes. He has recorded and
released many albums including two Imbogodom LPs on
Thrill Jockey.

In 2009 Daniel founded the Frederick Street Sound and
Light Exploration Society. Fred’s was an important centre
for creative and experimental music and arts in Wellington,
holding regular gigs, festivals, exhibitions, workshops,
film screenings, recordings, rehearsals. Since the closure
of Fred’s in 2012 the Sound and Light Exploration Society
has been putting on shows in disused spaces around
Wellington and a new festival called Rising Tides.

Daniel builds invented instruments out of found objects.
Recent instruments include the water organ (installed at
the Karori Wildlife Sanctuary, Zelandia), the prepared
spinning wheel, the huhu organ and the biscuit tin guitar.
He was trained as a Studio Manager at the BBC World
Service and works as a sound engineer for Radio NZ and
BBC World Service.

“                    ”[sic] Tim Goldie is a “NOUMENALANIMAL”[sic]
who dies in London.

Slakes by “                    ”[sic] Tim Goldie and Mark Aerial Waller

Edition of 300 copies
Mastered by Rashad Becker

Also available digitally as
320kbps MP3s with a PDF
version of the book.

Court of the Patriarchs, Zion National Park
Ansel Adams, 1941–42 / “                    ”[sic] Tim Goldie, 1996

“                    ”[sic] Tim Goldie/Daniel Beban
BBC World Service, Bush House, London
Photos by Marcus Bastel, 2007


Together these two artists form a powerful and grand-
iose free-improvisation drums-and-guitar duo but their
musical backgrounds are much wider. Daniel Beban is
the author of several sound art works and often makes
his own instruments, while Tim Goldie has joined many
projects as instrumentalist and author. The sound of
this album is consistently refined, presenting primitive,
hammering polyrhythms alongside dissonant, inflected
sequences – all linked together by a series of intense
vocals. The approach is at the same time noisy and
electronic, energising and abstract; in the book there
are only track titles, black on white in bold capitals,
as if trying to make some connection between the
tracks and the sounds contained within. The album
reveals an aggression that is pure but not simple —
Everything is emphasised and muscular: this is the
celebration of a radical militancy, which we can define
musically as Baroque and cryptic: love it or hate it,
you definitely won’t be left indifferent.


Willfully difficult, from the various apparati tortured
until boiling all the way to Goldie’s apparent psuedo-
nym “ ” [sic]. (Not sure if I got the right number
of spaces.) Empty songs, silence for seconds with
titles like Docile Scoptophile and Sarcastic Embrace
and ironically Rhetorician. Other songs with made-up
words that make Magma look like Sesame Street.
You want supremely shrill feedback that will perplex
your dog? Try the opening of Duo-Sang and sideways
slices of Passible. (The latter is a killer covering a lot
of (rough) territory, I dug the driller/drone 8+ minutes
in. Want nine seconds of a ticking clock? Listen to
Humane with a line through it. Try entering that into
your ASCII mindset. Field recordings in a vacant field,
or perhaps more Ghosts from Bush House at the BBC?
Percussion is often great and grating, bowed, struck,
clanked, scraped and crashed as on A Region of
Ambiguity... hell call it CD2.35. You want punk noise,
wrap Scarfskin around your neck to the venom oozes
out your ears... that track has a poetry scream slam
over angry electronics and industrial drums. If you
want something soothing, try L’udienza Bemani/
Figurine for a brief vibrational gaze inward, then run
for your life. The whole thing feels like a puzzle that
might solve you before you solve it.

Thurston Hunger (KFJC)

“The book: well you know I would delight in this.
As (I hope, though always redoubting) I already
mentioned, you’re an actual poet, as opposed to
(unpublished Dictionary entry) [Wealth of Negations]:
POET: (1.) gossip columinst exclusively about him/
herself (2.) distinguishable from prose writers by
virtue of being many times more prosaic. So in
the lower-case-plus-biologically-alive category that
makes you, Ben Watson, Sean Bonney, Anne Boyer,
Susan Howe... there must be some others but their
names escape me now (perhaps because unlike
upper-case Poets the lower-case names aren’t always
out door-knocking for attention). Hard to separate
the the music (please let’s be done with this upper-
case ‘Noise’, which I don't recall you ever advocating
anyway) from the writing/physical appearance of the
whole thing/compressed memory of you (& Daniel
Beban on the few occasions I saw you play together)
making this stuff: I play it less often than I look at the
words but when played it breathes justified world-spite.
Lightly and with pathos not bathos (because unlike so
much loud ponderous shite it knows the bathysphere
and won't stoop to pathetic pleading).

Cramped, muttering, twitching but unflinchingly
aligned, m.”

Matthew Hyland

A duo which veers haphazardly between the maxi-
mal and the minimal. This 197 minute triple CD
contains no fewer that 85 tracks, yet just over half
of them are no longer than 20 seconds and emit
little more than a faint hum or the sound of a
quietly ticking clock. They’re scattered around a
series of energetic, stormy improvised workouts,
in which New Zealander Beban meets Goldie’s vocal
outbursts and percussive barrages — layered poly-
rhythms and z’ev-style primitive ritualistic pounding
— with swathes of grinding electronic frequencies
and gritty feedback swarms. The more interstitial
tracks are the most rewarding, in particular
by Goldie.

Like Mattin, Goldie, who is currently based in London,
disrupts certain idiomatic musical forms — primarily
Noise, power electronics and improvisation — with
strategies borrowed from performance and conceptual
art. Slakes periodically resembles Goldie’s occasional
duo with Mattin, Deflag Haemorrhage/Haien Kontra.
The raucous live recording which closes the third
disc has a typically confrontational air. Goldie is an
increasingly accomplished improvisor — interspersed
throughout Slakes is a series of solo percussion pieces
which overflow with both aggression and intelligence.

Those aside, the duo’s talents seem to lie as much
in the linguistic as the musical. The book which
accompanies Slakes contains neither sleevenotes nor
imagery, just the track titles typeset in bold uppercase,
black text on a white background. It’s a smart ploy —
they conjure fascinating linguistic riddles, splicing
together convoluted palindromes, lorem ipsum gibber-
ish, garbled snatches of German and French, political
sloganeering and philosophical jargon.

Thus two minutes of blurry hum on the third disc is
rewarded with the name MYSTAGOGUE [NOT BEING
PLAN, and one of the better duo face-offs on the second

Nick Cain in The Wire

Strange and explosive encounter between Tim Goldie
(drums) and Daniel Beban (all other instruments).
Strange, because it’s elusive — even if it’s marked by
the momentum of noise music and a thirst for experi-
mentation. Explosive, because energy and electricity
are involved, independent of any ruling logic. Excellent,
quite simply! Will prove of equal interest to lovers of
Whitehouse and Mattin alike.