pic by Stas Julien-Martial


Earlier this year, in the height of Perth's COVID-19 lockdown, Tura New Music commissioned a number of works from local and national sound artists as part of their program Tura Adapts 2020. My contribution to this collection, amazing blissful moment (fearful receiver), was included in their @The Roots program, and released alongside 6 [six] other Perth-based artists, including C.Tsang, Josten Myburgh and The Erasers. This text was published alongside the piece: 
Last year I independently printed a zine of the same name, featuring some poetry and iPhone-quality pics of green bins, Perth rooftops at golden hour, and forgotten chairs in music venue bathrooms. This piece doesn’t share any text with that zine (although it does share some sentiment).

I’ve been living in some mundane oasis here in the Northern ‘burbs of Boorloo, blessed with many blissful moments, alongside many fearful ones. Feelings of uncertainty, and of trepidation, afraid that things may indeed return to business as usual, even after having had the chance to pause and ponder how fucked-up business as usual really is. These months of isolation have made some room for political thought and discontentedness to simmer in all of us (I hope). An overwhelming anxiety at the state of Australia and the world is unshakable some cloudy afternoons. But putting these fearful moments aside, here are some of the blissful ones:

Walking my dog, Kendrick / Indulging in weekday mornings in bed with a beloved, no meeting nor rehearsal in sight (!) / Yelling in the rain alongside ten thousand protesters, allies, friends / Learning the Noongar word gnamma, or namma, meaning a natural hole in a rock in which rainwater collects / Having the hopeful feeling that things are collecting here in the ‘burbs, too
[Listen Here]

Artwork by Pip Lewi

Less new:

As part of my Honours studies at the Western Australian Academy of Performing Arts, I completed a final composition recital around May of this year. Also taking place in the midst of Perth's COVID-19 lockdown, the recital as submitted as a recording, rather than performed live. This format suited the project however, lending itself to the style and content of the project. Taking a turn from my thesis studies in feminist musicology and experimental radio art, the recital focussed on composing a narrative-driven freak-folk album based around the stories of the Brothers Grimm fairytale collections. The album (titled Of Cloven Hoof in Honey) is yet to be released publicly, but I have written some precursory thoughts on the project: 
[Read Here]