It’s been three-quarters of a year since my first article for Slowist about my ‘Waratah and Others’ piano and photography project. It has been an interesting nine months in many ways. I’ve made intermittent progress with the project, interspersed with various challenges, both personal and structural. Like most things in life, it hasn’t gone exactly to plan, but there have been silver linings, personal discoveries, and interesting side-tracks along the way.
The Great Lockdown of 2020 inspired chorister & pianist Louisa Billeter to undertake an epic piano project, recording a piano piece every day for a year and sharing the results each day on social media. This stunning effort led to a new project… combining Louisa’s interests of piano, photography and native Australian plants.
In this article we will learn of the path that led Louisa to ‘Waratah and others’ and look forward to an ongoing series of articles to accompany her on the journey as it unfolds, at its own perfect pace.
A while back, I put a sticker on my looper pedal that reads “I am stupid” (referring to the pedal). I can admit now, it was a pretty passive-aggressive move.
John Shapter, performing as Headzic is the ‘accidental musician’, developing his ambient music style through clinical practice and mindful therapies.
Such a sparsely populated environment as the Mojave desert has clearly been a huge influence on Harold Budd’s style, which contains classical and jazz elements, though probably hews more closely to the modern ambient template (Budd prefers the term ‘soft pedal’).
A deep, gnawing sadness descended again this week in Melbourne as we returned to a further 6 weeks of lockdown. Franco Parvarro emerges, death is explored and reborn as a comforting acknowledgement of change.