Briony Luttrell

Extended Play is a festival that explores new music. Extended Play 2019 was held on 31st August at the City Recital Hall (Sydney, Australia). 

Samurai Loops composed by Chris Perren (2015).

Go Seigen vs Fujisawa Kuranosuke composed by Chris Perren (2014).

Nonsemble performers: Briony Luttrell, Cara Tran, Chris Perren, Flora Wong, Hik Sugimoto, Kieran Welch, Samuel Andrews, Sam Mitchell. 

Visuals: Jaymis Loveday.

Compositions and performances commissioned by GOMA (Brisbane, Australia) in response to the Margaret Olley ‘A Generous Life’ exhibition and simultaneous ‘Quilty’ exhibition (15 June – 13 October 2019), and the James Turrell work Night Life. 

Olley composition by Chris Perren (2019).

Quilty composition by Briony Luttrell (2019).

Turrell composition by Chris Perren (2019).

Up Late performances of Olley, Quilty and Turrell works: 2nd August, 9th August, 16th August, 23rd August 2019.*

Other performances of Olley: 30th June, 25th August, 13th October 2019.*

*All were performed in the galleries in front of the artworks.

Performing Nonsemble members: Briony Luttrell, Chris Perren, Flora Wong, Julianna Kim, Kieran Welch, Samuel Andrews. 

Guest performers: Adam Cadell, Richard Grantham.

QAGOMA YouTube channel features professionally filmed archival performances of the new compositions. 

‘Girls Drawin’ Girls’ Australia Art Show opening night, 30th Nov 2019, Open House Gallery, Brisbane, Australia.

Briony Luttrell - cellist / arranger. 

Flora Wong – violinist. 

Tech: amplification.

This commission featured the performance of duo arrangements of: 

• Pony (artist Genuwine) 
• Oh Bondage! Up Yours! (artist X-ray Spex)
• Femme Fatale (artist Velvet Underground & Nico)
• Boys (artist Charlie XCX)
• Work It (artist Missy Elliot)
• Down By The Water (artist PJ Harvey)
• Boys Want To Be Her (artist Peaches)
• Girl U Want (artist DEVO)

‘The Kaiju! Tinnie Launch Gala!’, 22nd March 2019, Newstead Brewing Co, Newstead, Brisbane, Australia.

Briony Luttrell - cellist / arranger.

Flora Wong – violinist.

Samuel Andrews – violinist.

Julianna Kim – violist.

Tech: amplification.

This commission featured the performance of string quartet arrangements of:

• Song 2 (artist Blur)
• Fake Plastic Trees (artist Radiohead)
• Loser (artist Beck)
• Pony (artist Genuine)
• Unravel (artist Björk)
• As the World Falls Down (artist David Bowie (Labyrinth))
• Afraid of Americans (artist Nine Inch Nails)
• Around the World (artist Daft Punk)
• Us (artist Regina Spektor)
• Brick (artist Ben Folds Five)
• Sway (artist Bic Runga)
• The Bad Touch (artist Bloodhound Gang)
• Just What I Needed (artist The Cars)
• Karma Police (artist Radiohead)
• Breathe Me (artist Sia)
• Lovefool (artist The Cardigans)
• Sexx Laws (artist Beck)
• U Can't Touch This (artist MC Hammer)

‘Finding John Wren’ exhibition opening night, 2nd Dec 2019, Warehouse in West Melbourne. Briony Luttrell - cellist / arranger. Tech: loop and FX pedal rig, original backing tracks, amplification. This commission featured the performance of solo cello arrangements of: Around The World (artist Daft Punk) - live cello, loop and FX pedal rig. Sexual Healing (artist Marvin Gaye) - live cello, loop and FX pedal rig. Brand New Key (artist Melanie Safke) - live cello, original backing track. Loser (artist Beck) - live cello, loop and FX pedal rig. The Bad Touch (artist Bloodhound Gang) - live cello, loop and FX pedal rig. Faith (artist George Michael) - live cello, original backing track. Word Up (artist Cameo) - live cello, loop and FX pedal rig. Pony (artist Genuwine) - live cello. Song 2 (artist Blur) - live cello, loop and FX pedal rig. Unravel (artist Bjork) - live cello. Don’t Stop Believing (artist Journey) - live cello, loop and FX pedal rig.

This is a compilation album from QUT's 2012 100 Songs project. It's called Eleven: Best of 100 Songs Project 2012 and was released in May 2013. It's an 11 track album with a bonus track, full of remixed, rerecorded and rejigged tracks from the project that were shortlisted by our friends at MGM Distribution, Mushroom Music, Island Records and Music Sales Australia. The Eleven album is already receiving critical acclaim from Australia's music industry. Physical copies are available in select Australian stores. Digital copies are also available online at iTunes.

Produced variously by: Phil Graham, Andy Arthurs, Mike Howlett, Gavin Carfoot, Mark Sholtez and Briony Luttrell. Engineered by: Phil Graham, Andy Arthurs, Mike Howlett, Gavin Carfoot, Tom Hunt, Josh Tuck and Julia Kourtidis. Executive Producers: Phil Graham, Andy Arthurs & Mike Howlett.

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

Engineers and Producers: Tyrone Noonan, Magoo, Adam Quaife, Miro Mackie, Mike Howlett, Phil Graham, Kiley Gaffney, John Willsteed, Gavin Carfoot, Yanto Browning, Briony Luttrell, Tom Hunt, Julia Kourtidis, Alex Miller, Josh Tuck.

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.