Stanier Black-Five on Radio NZ’s Room 101

Stanier Black-Five and her work was featured on Radio New Zealand’s Music 101 programme on 21st July, 2012. The item, which features an interview and examples of her work, can be listened to online at:

Body Waves featured on TV3’s Nightline


Body Waves, the collaborative earthquake sound project of Stanier Black-Five & Malcolm Riddoch featured on the Nightline programme broadcast on New Zealand’s TV3 on Friday 27th July.

Malcolm Riddoch prepares for Body Waves at the Great Hall, Massey University, Wellington NZ

Music 101 Stanier Black-Five feature

This Saturday (21st July), Stanier Black-Five and her music will be featured on Radio NZ’s Music 101 – estimated time of airing 4.45pm NZT

Chimera, Wellington, NZ


Sascha Perfect's Chimera -photo by Carrie Alford

Sascha Perfect’s Chimera -photo by Carrie Alford

Stanier Black-Five’s music featured in Sascha Perfect’s dance work, Chimera – premiered at The Body Festival in Christchurch (2010) and performed again at the Whitirea Theatre in Wellington.



Body Waves in Wellington, NZ


Venue: Great Hall, Museum Building Massey University, Buckle Street Wellington

Date: 8pm Wednesday, July 18, 2012

The New Zealand premiere of Body Waves, Stanier Black-Five’s collaborative earthquake work with Dr Malcolm Riddoch – part of a programme of experimental electronic music works exploring the natural harmonic resonance of one of the largest acoustic spaces in New Zealand – the Great Hall at Massey University in Wellington.

In Body Waves Stanier Black-Five and Riddoch tune Stanier Black-Five’s Christchurch earthquake infrasonic soundscape into the lowest fundamental resonant frequencies of the Great Hall to create music that goes beyond the auditory system to be felt in the body.

This is preceded by three solo works by Riddoch, in which he uses the Larsen effect (microphone feedback) to ‘ring out’ the unique resonant frequencies of an acoustic space. The four works track the evolution of his practice from simple pure tones through interference effects with acoustic instruments to the use of acoustically derived digital feedback controllers driving the electronic manipulation of sound. The only audio source for these first three works is the ambient noise within the acoustic space itself.

Thanks to the support of the Sonic Arts programme at the New Zealand School of Music (a joint venture of Massey University and Victoria University of Wellington), Massey University College of Creative Arts  and the West Australian Academy of Performing Arts (WAAPA).