Jim White and Marisa Anderson share an abounding appetite for musical exploration. White, as a member of Venom P. Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others. Anderson’s prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade.
White and Anderson’s considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, ‘The Quickening’. The Quickening’s remarkable performances take the listener on a journey of exuberant discovery. White and Anderson are instrumentalists whose voices are unmistakable and spellbindingly lyrical. Anderson unravels guitar traditions from across the globe into atmospheres all their own through improvisations and melodic lines that transform with each iteration. White implements an array of sticks, brushes, and techniques that imbue each rhythmic passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought.
1: All the stories haven’t been told.
1. What is the biggest inspiration for your music?
Discovering and interacting with how it feels.
2. How and when did you get into making music?
I loved music from a young age and it was so mysterious to me it drew me in and I started playing drums and I never stopped.
3. What are 5 of your favourite albums of all time?
I have no idea. At some time in my life:
Universal Conciousness by Alice Coltrane
Sam Cooke – Live At The Harlem Square Club 1963
Iggy Pop – The Idiot/Lust For Life
Aretha Franklin’s Greatest Hits
Lou Reed – Coney Island Baby
The Saints – Prehistoric Sounds
Lately I listened to and loved ‘Tupelo Honey’ by Cassandra Wilson, Devin Hoff’s appreciation to Ann Briggs, ‘Seventeen’ by Sharon Van Etten on YouTube, Bill Callahan’s newly released songs.
4. What do you associate with Berlin?
Making up a dance music performance in an old, cold ex-car showroom building site with Claudia de Serpa Soares and Eve Sussman – “More Up a Tree.”
5. What’s your favourite place in your town?
Lately I like to go along Hughes Creek Rd, it’s the creek where the young Ned Kelly saved the boy from drowning but not beacuse of that, all sorts of good interactions happen along that creek, gorges, bush, farmland, swimming holes and wombats.
6. If there was no music in the world, what would you do instead?
7. What was the last record/music you bought?
Norman Fucking Rockwell!
8. Who would you most like to collaborate with?
9. What was your best gig (as performer or spectator)?
Ine week I saw Nina Simone and Mary Margaret O’Hara. When I was very young Ike and Tina Turner Revue, McCollough Sons of Thunder. Those unexpected times whether its the Hard-Ons or Grady Gaines in a bar, maybe the time when I saw Jeffrey Wegener playing with the Laughing Clowns at lunch time at the university I went to which helped me to leave and play drums most days instead and start Venom P. Stinger, I wish I saw the Sick Things – Mick Turner’s old band. Favorite cassettes: ‘Dark’ by the Sick Things, and some of the CAAMA cassettes (that’s Central Austrailan Aboriginal Music Association Rock and Country.
10. How important is technology to your creative process?
Not very. Is the classic formal 4-piece drum kit, technology? If yes, then very!
11. Do you have siblings and how do they feel about your career/art?
I have two sisters, they are both great dancers and into music and we all went to lots of shows and they still come often to concerts I play in Melbourne, which I like.
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
The technical storage or access that is used exclusively for statistical purposes.The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.