Josten is a Perth-based composer, improviser and performer, active in experimental and new music spaces. He is part of running the label Tone List, which represents exploratory music activities in Perth through releasing recordings and organising concerts, including the annual Audible Edge Festival.
He studied with electroacoustic musicians Lindsay Vickery and Stuart James (WAAPA) and Wandelweiser composer Antoine Beuger, and has also undertaken mentorships and emerging artist programs with radio artist Alessandro Bosetti and composers Perluigi Billone, James Ledger and Richard Barrett. He has performed at Supersense Festival of the Ecstatic (Melbourne), Klangraum (Düsseldorf), High Tide / Fremantle Festival, AudioArt Festival (Krakow), Cable#8 (Nantes), 101 Scelsi/Cage Festival (Palermo), KLEX (Kuala Lumpur), Tilde New Music & Sound Art (Melbourne) and the Totally Huge New Music Festival (Perth), as well as in concert series’ in Europe, South East Asia, New Zealand and Australia. He has released music with Emmanuelle Waeckerle (Edition Wandelweiser), Emilio Gordoa & Michael McNab (Shame File Music), Jameson Feakes (Tone List) and solo (Flaming Pines, Ivory Tower Records).
Composer website: http://www.jostenmyburgh.com/
a window in Sicily, for electric guitar, electronics.
The field recordings in this piece are a ‘sonic photograph’ of time I spent in Sicily in 2014, on tour with Decibel New Music Ensemble. These recordings are glanced at from different perspectives by guitar and electronic tones and noises. I spent over a year working on different parts of this piece, but the final iteration came after study with Alessandro Bosetti, who encouraged my engagement with the sounds to be more playful, and I’m very grateful to him for his guidance and tuition – he helped me to unlock something that the piece was searching for all along.
Featured in Landscape Waves, February 2018
The silver morning shifts their birds from tree to tree, for ensemble and generative software.
The electronics in this piece are generated live – using very simple sounds, they create a situation for the performers to ‘inhabit’ according to a brief and quite open-ended set of conditions. The title is drawn (and gently modified) from a poem by Robert Lax, and perhaps reflects the role of the computer in affecting the kinds of decisions that can be made by the performers in the piece. Performed by Josten Myburgh (saxophone, percussion), Nate Wood (violin), Dan O’Connor (trumpet)
Featured in Place Waves, May 2018
The waves which have kept me from reaching you, for Alto voice, trumpet, electric guitar, alto saxophone, violin, percussion & electronics.
To some extent this piece involves an embrace of flippancy, an overcoming of various creative blocks to make something intuitive and inspired by the music I grew up on and which encouraged me to start composing in the first place: noise, punk and post-rock. This might seem strange when faced with the extreme quietude and the stark and greyscale aesthetic of much of this lengthy and episodic piece, but what I take from those musics is more an attitude and an approach to form. The piece is also written directly for the people that are playing on this recording; I wrote it for friends rather than for instruments. One hears something more like a series of strange and hollowed-out songs or improvisations, juxtaposed with incidental sounds, field recordings and other electronics, exploring specific abilities and nuances of each of the performers. The connections between each episode are intuitive but they are nonetheless part of the same world or sonic space, at least to me. The conclusion of the piece is a co-composition, a free improvisation that loosely responds to everything that came before.
Featured in Stillness Waves, September 2018