Polymorphic is the groundbreaking project from Melbourne based Maddison Carter, a visionary percussionist and composer. The project emerges from the creative expanses of Melbourne's lockdowns, capturing a new direction in Carter's artistic journey. Polymorphic is a reflection of Carter's life, his connection with his ensemble, and an intimate portrayal of his artistic and personal growth, inviting listeners into a world of deep emotional and rhythmic exploration.

Formed amidst the solitude of 2021 lockdowns, "Polymorphic" began as a solo exploration and evolved into a sextet ensemble, symbolizing Carter's commitment to melodic richness and the unconventional use of the vibraphone. "Polymorphic first grew during Melbourne’s many lockdowns," explains Carter. "It was born out of a change of lifestyle and my frustration with playing only non-pitched material. This music brought me back from a period where I spent far less time on music." The ensemble’s journey mirrors Carter's own artistic transformation, from a period of diminished musical activity during the lockdowns to a rekindled passion for composition and performance.

Carter reflects on the unique sound of "Polymorphic," saying, "The initial response is that it sounds 'more classical'. I think about artists like Nik Bärtsch and Miles Davis. This music is a more honest representation of me than what I've previously put out." The album is a testament to his deep-rooted connection with nature, sustainability, and the profound experiences of his life, including the impact of his father's passing and the transformative power of permaculture. Discussing the album's distinct sound, Carter notes, "Polymorphic is about blurring boundaries. It juxtaposes tonal and atonal elements, with electronic manipulation and tight rhythms crafting our unique sound."

The album owes its existence to the initial quartet - Flora Carbo, Niran Dasika, and Isaac Gunnoo - whose dedication laid the foundation for this project. "The original four were integral to this project, their enthusiasm was essential.” Jessica Lindsay Smith and Imogen Cygler later joined, adding new dimensions to the ensemble's sound. The album is a showcase of polytempi, a concept involving overlapping pulses that create an intricate tapestry of sound. This technique, combined with Carter's movement between the vibraphone and drum kit, offers audiences an auditory experience of layered rhythms and shifting musical colours.
Reflecting on the journey, Carter shares, "This project is about forging a sound that doesn't conform. It's a representation of growth, change, and the magic of creating something special. Working with my partner, Jessica, on this project has been a joy," Carter remarks. "Her involvement in both the music and the artwork has made this project deeply special and personal."

The album is a showcase of polytempi, a concept involving overlapping pulses that create an intricate tapestry of sound. This technique, combined with Carter's movement between the vibraphone and drum kit, offers audiences an auditory experience of layered rhythms and shifting musical colours.

Maddison Carter is a Melbourne-based drummer, percussionist, and composer who improvises fearlessly and sensitively, leading the charge of the next generation of jazz artists on the Melbourne scene. Carter is a versatile artist, working across the art music spectrum from free jazz to minimalism, as well as in folk, West African and pop genres. His sound is influenced by studies with Simon Barker, Andrea Keller and Danny Farrugia, incorporating a vast textural palette, quiet precision and rhythmic vocabulary.

In 2019 Carter released his debut album as bandleader, Elbow Room, with a quintet featuring Eugene Ball, Theo Carbo, Tamara Murphy and Joe O’Connor. This acclaimed release of original compositions explores the device of polytempi, placing opposing rhythmic structures together to explore the space between. It has been featured on ABC Jazz and PBS Impressions.

Carter has performed with Andrea Keller’s Transients, the Allan Browne Quintet for his memorial concert, Miroslav Bukovsky and Eugene Ball’s MiroBall, Nat Bartsch’s Lullaby Project, Julien Wilson, and James Sherlock, and has performed at numerous festivals across Australia. He has also written commissions for the Victorian Youth Symphony Orchestra and the Beautiful Fragments project, connecting orchestral and jazz musicians together.

Polymorphic is Maddison Carter's latest venture, drawing upon his fascination for rhythmic complexity. Whilst blurring the boundaries of jazz and contemporary classical music, the compositions juxtapose tonal and atonal threads. The music shows an affinity for constructed, organised sonic space alongside vast improvisation. Electronic manipulation, tight interlocking rhythms, and vibraphone craft the distinct sound of this ensemble.


Watcher, Sleeper, Maker

The title of this piece comes from the simple routine I found during COVID lockdowns. As gardener and learner, I would watch the patterns of the land, watch the growth of our food, watch the ducks play in the water; at the end of a physically draining day, I’d shelter by the wood-fire heater, make my leaven, and the following day go through the ritual of making sourdough bread.


Later Stages

Later stages is a reflection on time and aging. Its harmony is layered, and like the insistence of the drums, and later, the half of each poly-chord, the death of my father is always present. Later Stages refers to the later stages of cancer, and my awareness that as time moves on and my life moves to different stages, in many ways I become more like my dad.


Tired of Really Wired

Coffee and fatigue are both my friends. Tired or Really Wired is perhaps the most reworked of the pieces on the album, and went through something like eight entirely different versions. Where we landed with it both reflects the scope of music I hear within sounds, and the somewhat mild and manic state I can find myself in.


Where Are the Animal Lovers?

This title, like a few on the album, comes from a book titled On Eating Meat by Matthew Evans, a book that looks at the ethics of eating meat and also meat replacements. I was reading this at the same time as listening to a lot of Elliot Carter and Morton Feldman. The ethics of what we eat are complex and have dissonant rubs, as does this piece.


Horse Meat

Another name that felt fitting for the angularity of the piece alongside its companions. Horse Meat actually started as a composition exercise after spending a lot of time listening to the music of Kneebody, and is a first attempt to use some of the ideas of their ‘secret language’. The language itself may not be present, but I liked the piece too much to let it sit there, and I applaud and apologise to the band for executing such an unkind melody.


Montags

Like many aspects of this album, I sought to compose for the vibraphone and languished in not being at the drumset all the time. Montags reflects my love of Steve Reich, Anna Webber, Luke Howard, Nat Bartsch, and Nik Bärtsch. The title comes from Nik Bärtsch’s long-running residency at his venue in Zurich, and bitterly translates to ‘On Mondays’.


What About Asparagus?

What About Asparagus? Is perhaps the most ambitious piece of the album, containing layer upon layer of pulse, style, improvisation, and precise composition. The piece is part of my ongoing interest in the collision of aesthetics and pulse. The astute listener will notice themes from the entire album snuck into this piece.