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Portfolio 3.1

"I'm sure you know this, but you don't have to please anyone when making musick. And it's absolutely okay to create in different genres. Even if they seem 'at odds' with each other by some people's estimations. People are complex. Expressing that complexity is beautiful. And I, personally, quite like that people are different, have different tastes, like different things. And that they might love some things we do and not like---or even dislike---others. I feel that when people are able to share openly, and like or dislike openly, and separate music from personality (as in, someone might not like a piece of musick I make, but won't hold that against me as a person), more things seem possible in the world. Because there are so, so many possibilities. And our differences are what make them possible.​"

- a very wise Sage (Pbbbt)

Portfolio 3.1

1. Introduction

2. Recital 

3. Collaborations

i. Tender with Michelle Aitken

ii. Moth with Ellen Hope-Thomson

iii. Panthea with Natalie Allen

4. Current/future projects

i. Tone List interviews/writing

ii. Dolphin Collaborations

iii. great statue releases

5. Regional touring

6. Other

i. Kid A

ii. Radio training at RTRFM

iii. Nika Mo (folk project)

iv. great statue (electronic project)

v. Gamelan 

7. Performances/installations

8. Reading/listening


This semester has been a trial-and-error endeavour to find how best to balance a lifestyle where music is your work, your procrastination, your down-time, your study, your predominant social sphere, and what seems like the only certainty in the foreseeable future. Looking ahead to undertaking Honours research next year, and then being flung into the world outside of WAAPA the year after, I have questioned the point of studying such a seemingly useless, self-indulgent degree. My music isn’t solving any world problems. Nearly all of my peers are white, cis-gendered, middle-class Australians; I’m constantly reminded of Western Art Music’s white and class bias. There is so much disaster and pain in the world, and my pursuit of music seems to do little to aid this. At times where such doubts suck me into a plughole, a few things continue to give me purpose: 

  • being a visibly active woman in the music industry, for the benefit of younger women and girls who might be convinced to pursue their passion by seeing another woman doing so

  • I love teaching (especially children), and I’d like to be as knowledgeable and experienced as I can so that I can do my best to teach others, and impact others in the profound positive way some of my music teachers impacted me as a young musician

  • my obstinacy drives me to succeed in the music industry to prove wrong those who believe there’s no future in the arts

  • it seems wrong to fight what feels like such a need; music has been the only thing I’ve ever considered doing

  • in order to make the most positive impact on this world, I believe each individual must follow what they are most passionate about. Though I have the capacity to work as a human rights advocate, or a lawyer for human rights, these occupations would not fulfil me and fuel me as music does, and so my impact on others could never be as truly profound or honest. 

  • and finally, the other day my mum told me how Bowie gave up being a Buddhist monk for music. These are the words of Chime Rinpoche, Bowie's spiritual advisor: ’I said, come in young man. Why did you come to see me? He said, I want to become a monk. I asked him, what is your talent? And he said music. I said, so then don’t become monk; you do the music. And from that day that is what he did.’

2. Recital

the act of going searching for something (some sound, some found audio) you don’t know what /

the line between speaking on behalf of someone and letting someone speak /

the refusal to be a spectator - put your hand in the cage alongside the hamster (When Species Meet Donna J Haraway) /

to hold your listening accountable when no one else can see you hearing /

to question your dismissal of sound - why is(n’t) this what you’re looking for? /

giving your ‘subject’ response-ability - be a woman in the mud with the other women in the mud and let them answer you (A Critique of Post-colonial Reason, Gayatri Spivat) /

whose voice are you exploiting; if not your own, then why your neighbour? /

the implication of yourself in a piece about family, and the responsibility that gives you to represent a narrative honestly, carefully, and respectfully /

the responsibility to represent every voice honestly, carefully, and respectfully, whether it be your own, your family’s, or a stranger’s /

to make space for others in your own work (Sisters Akousmatika) /

the act of going searching for something (some sound, some found audio) you don't know what // the line between speaking on behalf of someone and letting someone speak // the refusal to be a spectator - put your hand in the cage alongside the hamster (When Species Meet Donna J Haraway) // to hold your listening accountable when no one else can see you hearing // to question your dismissal of sound - why is/isn’t this what you’re looking for? // giving your ‘subject’ response-ability - be a woman in the mud with the other women in the mud and let them answer you (A Critique of Post-colonial Reason, Gayatri Spivat) // whose voice are you exploiting; if not your own, then why your neighbour? // the implication of yourself in a piece about family, and the responsibility that gives you to represent a narrative honestly, carefully, and respectfully // the responsibility to represent every voice honestly, carefully, and respectfully, whether it be your own, your family’s, or a stranger’s // to make space for others in your own work (Sisters Akousmatika)

some thoughts

2. Recital

My recital takes the format of a 25 minute radio art piece which integrates archival audio with newly composed/recorded material in an audio collage aesthetic, and investigates the politics of this practice. The piece is written for for the broadcast medium, and will be premiered on RTRFM 92.1. Scroll through images below to read through my processes and approaches to writing this piece ... 

James Sykes Battye Creative Fellowship Application
Radio art: an archival revival

Project summary

The project aims to create a radio art piece using archival audio from the SLWA archives, which will ultimately be broadcast on local radio station RTRFM, both as an attempt to engage the public with the archives in an impactful, accessible way, and as a way of developing my personal artistic practice. This is partly in response to the recent discontinuation of Soundproof, one of Radio National’s only programs dedicated to broadcasting radio/sound art weekly. In the words of Julie Shapiro (part of Radio National’s Creative Audio Unit, 2015), “In contrast to the present radio zeitgeist, radio art takes patience. Sometimes it takes absolute focus, full concentration, deep thinking … Always this work invites you to take a closer listen.” Radio art is an important way of utilising audio archives and engaging the public with these archives, as well as encouraging a way of listening; to others, the world, and the past. The outcomes of my project include a 25 minute radio art piece, a public broadcast of the piece on local station RTRFM, a free workshop on Audacity and radio art, a free artist talk on my project and engagement with the archives during the J.S Battye Fellowship. 


Project Description

I will begin by working through the SLWA audio archives in search of a single audio document that can act as an underpinning narrative/subject for the radio piece. Though I don’t yet know what this document will be, I am interested in uncovering beauty and complexity in mundane speech patterns. The second part of the project will involve searching for other audio that is linked in some way (through time, place, subject etc.) The aim is to gather audio materials that can act as a counterpoint to each other, and to draw information from more than one narrative voice. I will also record some of my own audio eg. interviewing people, recording casual conversations, recording relevant places/activities/contexts. This process will involve other Perth creators, and particularly those involved in the Perth Field Recording Club, who I will be working with to get quality field recordings of relevant places, (may involve travelling, which will be aided by the Fellowship funding, and I also intend to pay those involved for the use of their equipment and time). If in the interest of the library, any linking material that I record may be added to the Battye State Library archives. The final production of the piece (mixing and mastering) will take place at the WAAPA campus where there are suitable sound studios available (eg. high quality monitors, sound proofed booths, all hour access) To support the continuation of radio art, I’d like to host a workshop and artist talk (both free events) as part of the Creative Fellowship should I be successful. The artist talk would be an open invitation to the public to view my workings during the creative development process (the third week of the fellowship). The workshop would be a short Audacity tutorial for the public, and a creative workshop in which participants are assisted in creating a 3 minute radio art piece, using a selection of archival audio (which I will select prior to the workshop) and new audio (sourced from my own archives). This will be aimed at beginners, and open to ages 12+

Fellowship Benefit 

In terms of my creative practice, the J.S Battye Fellowship would give me the opportunity to very deeply investigate and engage with the audio archives preserved in the SLWA, and the time to work intensively on a project with a defined outcome, and with the support of experienced SLWA staff. Receiving funding to support the creative development of a new radio art piece is particularly relevant and beneficial, I think, with the discontinuation of shows like Soundproof, and cuts to the ABC. I also believe radio art is a way of utilising the archives, and giving them a platform to be heard. Materialistically, this fellowship provides me with a space to undertake creative development, assistance from library staff on how to navigate the audio archives, funding to support recording expeditions as part of the project development, a publicly accessibly venue to host a workshop and artist talk, and funding which gives myself the ability to receive payment for running these events, and payment for the creative development of the piece. I believe this project benefits the general public with the aforementioned workshop and artist talk (both free events), which aims to give participants a practical tutelage in audio editing software, and a chance to engage in conversation around radio art and audio archives - their importance, relevance, and meaning in a modern context. For the SLWA, I believe this to be a beneficial project as it engages the public in two events hosted at the State Library, and a public broadcast of the finished radio art piece, plus an interview, which will give listeners an insight into the J.S Battye Fellowship as well as the wider work that the SLWA does in maintaining these archives. 

[The successful applicant will be announced in late June]

Ideas for the piece [using audio I've already found]


OH2456/5 interview with Maxwell Shean


OH2546/5 interview with Maxwell Shean

ABC Local radio report by Alex Hyman


OH429 interview with Alice Wood

OH4091 interview with Jim Robinson

Thoughts on politics of practice (see reading list for references)

Working with found audio implicates the composer as a listener first. To ‘find’ this audio requires hours of open-eared listening, contemplation and consideration. Sifting through material and working with at times very small selections (eg. a single phrase or word) that become major underpinnings/focal points of a work means each selection goes though a process of justification - why this phrase and not that one? Having an idea of the format that the piece will take without having material can be detrimental to the process. As I search through audio archives (mainly in the State Library’s Oral Histories archives) I listen waiting for the ‘perfect’ audio. Something that is rich; something that acts as a dense meeting point of cultural ideas, a launch point for thoughtful discussion, is relevant, and interesting sonically. I am more interested in a conversational dialogue style that is ripe with intonational intricacies, complexities, colloquialisms and idiosyncrasies, the beauty in the mundane. A reluctance to settle for anything less than this imagined ideal makes being open to the possibilities of any given audio difficult. I realise that I need to open my ears and mind to engage in a present listening, taking each audio source at face value without applying recital related pressure or expectations. Josten suggested recording my listening; a way of holding myself accountable to giving consideration and concentration to each item.


Working with verbatim dialogue provides an opportunity to be overtly political; to literally speak where other composers working sans text must speak figuratively, expressing their message through musical means. But just because I have the option to be overtly political through using verbatim dialogue, does that mean I should? Really, regardless of whether I use political speech and dialogue, this very practice is a political engagement in itself. My work borders on the kind of immorality debated over in works such as Jesus’ Blood Never Failed Me Yet by Gavin Bryars, which samples the voice of a homeless man; there is a responsibility to treat a sampled voice with respect, care, human empathy and morality. Unlike an interview/recording taken in the present, archival voices cannot respond, defend themselves or provide clarification, giving a composer total power and control over that voice. The idea of ‘response-ability’ (Spivak) is an important way of maintaining a balance of power (between composer and subject) and practicing a thoughtfulness and care for all voices (outside of the compositional practice too). By engaging with this practice, I’m engaging in an attempt to provide this ‘response-ability’ to the voices I use while not actually being able to communicate with them.

Also basing a piece around found material means that any newly composed material must be informed by the existing content and justified by serving to enhance the found material in some way. New material risks appearing trivial if not composed with a sensitivity and intentionality. It is very different from other compositional practices that create all new material; there is a real sense of serving this found audio, and finding ways to support the found voice (and here I literally mean the voice of the person speaking in the found audio; finding a way to compose and structure material around their voice in a way that supports and centralises).

3. Collaborations

3. Collab

Tender choreographed by Michelle Aitken for Micromove at FRINGEWORLD 2018


Three female dancers, each moving with an arresting and soulful individuality, traverse a landscape of shifting images. They are compelled away from and into each other’s arms as though magnetic.


Those seeking protection encounter those seeking to not let go. The dancers break into restless, sinuous solos, and come together in images that shift back and forth between the symbiotic and the parasitic.


Three discrete sections, each almost reiterations of each other, complimentary in instrumentation, taking themes from each other and text from Brecht's I want to go with the one I love, recreated with elusive processed vocals. 

Glitchy, twitchy 'scapes are punctuated by bassy synth melodies, and give way to sweeping swirly pads. The sound interacts with on stage action - recordings of trampoline sounds are manipulated to create an alternate reality of diegetic sound as dancers bounce. Repeated sounds hark from the past, calling back melodies, memories, desires, urges. While the first two parts are less rhythmically driven, the final part draws from its antecedents to culminate in a repetitive, forward-moving groove. This accompanies the final solo; sorting through invisible boxes and organising the performance space. 

The most rewarding part of this collaboration was the interaction with the dancers and choreographer during collaboration. Working with the choreographer to record trampoline sounds (seeing her enthusiasm and participation in the making of sound) and creating the last section during a rehearsal made the sound feel very connected to the movement, the two being integrally bound. 

"Whatever you are trying to escape will be there to catch you when you fall, and to return to when you become frightened of being by yourself. Tender is a dance about being held so tightly you can’t breathe. Holding something so tightly that it is crushed out of existence.


Tender is a dance about, among other things, women that love the wrong people. About conflicting desires to be held, and to be free. The space between holding and harming, nurturing and suppressing. How the line can be crossed before you even know it’s there."

Michelle Aitken, choreographer

3.i Tender
Moth - great statue

Moth choreographed by Ellen Hope-Thomson for Shortcuts 2018

Moth is a collaboration with WAAPA dance graduate, Ellen Hope-Thomson that explores the similarities between the metamorphosis of moths and the changing state of young women trying to define themselves while refusing to be defined reductively and two dimensionally; it is an embrace of the complexity of our ever-changing identity. The project was approached from a personal perspective, conducting interviews with Ellen's family and friends to find the most prominent traits of her character. Movement phrases/states were then created to reflect these identities, and these phrases were all jumbled together to mimic the dissolution of the caterpillar within the cocoon. 


Ellen wanted a pop track that was bittersweet, melancholic but boppy (the temp track was LCD Soundsystem's Baby). My immediate thoughts were: 

  • beat with retro-ish kick/snare, overlaid with more complex percussion  

  • pads

  • synth bass line 

  • repetitive catchy groove 

  • tonal harmony

She also wanted the track to fall apart ​sporadically and re-gather itself in a similar but new form, mimicking the process of metamorphosis. For this I took inspiration from Laurel Halo, especially tracks like Jelly that are more pop than her other tracks. Jelly falls apart with down-pitched vocals, sudden rhythmic changes and glitching effects, then suddenly picks itself up again and pulls together, resuming the groove. 

The first draft I composed took an organ drone to create a base for flitting snippets of vocals taken from the interviews Ellen recorded, but upon matching the music to movement, Ellen decided it was best suited for the ending of the piece (duration 9 mins). 

The first section (composed second) began with taking a sample of an synth drone from one of my other pieces, and loading into a sampler to compose a repeating phrase. The bass line came next, the drum beat developing alongside it, and a repeated vocal swell brings an organicity to the otherwise electronic groove. The first real change happens at 1'48; a slowed sample of the drum beat begins, things fall out of time, synth voices fade in and out, or appear for one moment only to be overthrown the next. The distortion and noisey processing on the drum sample was added after the first drat using a glitched out vocal transformer and distortion plugins. Automating the tempo also helps to pull things apart, then bring things back to synchronicity with a sudden acceleration. An electric piano interrupts the distorted synth drone, then drops away to a piano solo which eventually gathers momentum with snippets of vocals, disparate interjections, and a MIDI vibraphone ostinato that twinkles warmly above darker murmuring synths. 

LCD Soundsystem Baby

Laurel Halo Jelly

3.ii Moth


choreographed by Natalie Allen

This concept for this piece originally centred around the idea of survival; as a creative in the arts industry, as a woman in the arts industry, as a woman in this world. It developed into a tongue-in-cheek critique of the cultural reduction of women as purely visual commodities - the all female cast paraded and shimmered their way across the stage like they were in the background of an 80s music video. A comedic midway 'drink break' interrupted the dance and cued a second section, a far more sombre tone emerges with nature ambience, as if peering into the garden of the goddesses. Now powerful and assertive, these women demand our attention and respect. 

The initial groove (entitled Rimba Queen of the Jungle) was inspired by a movement task Natalie assigned the dancers; 'improvise as your spirit animal. How would you survive as this animal? What are your first instincts?' This groove ended up forming the base for the second section. The first section tried to recreate an 80s synth pop track, (the temp music was Miami Nights 1984 - Ocean Drive). Very fun! But challenging to generate 13 minutes of interesting material. At one point I faced a real stumbling block trying to create a groove for a new section that had been rehearsed to Hollaback Girl by Gwen Stefani, and Kiss by Prince. Trying to analyse what made Hollaback Girl bang, what the two tracks had in common, and attempting to maintain stylistic integrity was difficult. I came to a solution by adding a key change, bright synth brass (used in the chorus of Hollaback Girl), and a rhythmic keys figure. Not really similar to the temp tracks but the desired effect; enough of a bang to keep the vibe pumping and push the groove forward. 

After making the initial Rimba groove and receiving positive feedback from Nat, I took the time to expand on those ideas, taking grooves and reharmonising, adding extra elements, manipulating existing sounds to create new sections. This was without any prompt from the choreographer. I found it helped increase productivity and creative flow to follow my musical instincts and listen to where the piece asked to go. Then afterwards, I found a lot of generated material was suitable for the movement that Nat later developed (though some material was not used at all. This is a trade off; i was happy to spend time producing material that was ultimately unused because the process of doing this helped me engage creatively with the project. I was not just responding to the requirements outlined by the choreographer; I was exploring the concepts and sonic possibilities of the project within my own creative practice. Nat supported this kind of collaboration between composer and choreographer. Her contemporary choreography style really approaches the development of sound as a collaborative and concurrent evolution intertwined with the movement. 

Miami Nights 1984 - Ocean Drive

Panthea pt.I - Annika Moses
Panthea pt.II - Annika Moses
Panthea pt.III - Annika Moses
3.iii Panthea

4. Current / future projects

4. Future

tone list volunteering

I've always enjoyed writing, reading, literature, and the idea of combining this interest with music has always been an an exciting prospect (whether it be in a volunteered or professional capacity). Recently I caught up with the Tone List crew to discuss how I could be involved with the production of the next Tone List zine, and how I could contribute to the noise page on their website, a place where interviews / images / blog style writing is archived. My first project is facilitating interviews with a few local Perth sound explorers (Furchick, Akioka, Michael Terren, Filth Goddess)

dolphin dance collaborations

Anika Fyfe - the movement explores human relationships, their superficiality and absurdity, but ultimately their necessity in our lives to maintain humanity and empathy. A repetitive electronic groove with dark bass chords and a simple electric piano figure drives the first section of the piece, while the second section creates a bouncy Sims-style backdrop for a spattering of comical duets.


Izzy Leclezio - this piece replicates the feeling of comfortable loneliness with familiar sounds of trains in the night time, crickets and creaks, soft whispering and children's rhymes. A middle section turns darker with solos from masked women, and the final section builds in intensity before finally simmering down to the night sounds we began with. 

great statue releases with Rathe and

new Perth label by a.r.clare

Very exciting! Rathe will be putting out a various artists compilation of acts from their first two shows and have asked me to contribute something. My great statue set at Rathe: Sequences was glitchy and abrupt with live processed vocals (someone likened the set to Oneohtrix Point Never's R plus seven album). 

And a friend is intending on starting up a new label in Perth to release music that might not have a platform to be released elsewhere; music from collaborations/visual art installations, genre elusive tracks etc. Short releases of 20mins duration will be sold on cassette and launched in pairs. 

sunflowered - great statue
sketches from meetings with Dolphin collaborators

5. Regional touring

5. Regional

Aside from writing and performing music, I am interested in curating workshops and event series that tour in regional areas, and bring opportunities for creatives in regional areas (especially youths) to become involved in a wider music and arts community. One of my previous projects was a collaborative sound installation at the Mundaring Arts Centre (in the shire of my home town, Gidgegannup) which I created as an outcome of receiving the Robert Juniper Award for the Arts. Another of my previous projects has been an ongoing event series held at 2 Cafe in Darlington which has hosted folk, improvisatory, electronic, soul, jazz and experimental musicians, many of whom were between 16-30 years of age.


I am very interested in organising a music series which features musicians/composers who grew up there and are now living elsewhere to pursue music as a career or study music at a tertiary level. The event would be based in an experimental genre, but I aim to curate a line-up that caters to the audience of York, is sonically interesting and accessible, showcases a diverse range of musicians (including women and LGBT+ artists), and provides performance opportunities for emerging musicians. I also would like to include at least 1 local act in the line up, and possibly a collaboration between local and visiting artists. As part of this event, an accompanying podcast will be released online which features interviews with artists involved, explores their relationship with the regional area that they grew up in, and addresses issues of why exploratory/experimental music is so centralised to the Perth CBD and how we can create a larger supportive network across WA. 


Part of my curation interest also lies in activating outdoor spaces, historical buildings, and spaces with interesting acoustic properties (such as the Goomalling Domes) as atypical performance venues. A very interesting project took place in Tasmania recently, which involved a collective of musicians, Ensemble Offspring, composing a piece in response to an old shed in a rural area, then hosting a number of (sold out) concerts in the shed space. (You can watch some video documentation of the project here 

So far my research process has included gathering resources and contacts in regional areas from events organisers, performers from regional areas, and public databases. I've also spent time discussing the issues of experimental music in regional areas with other artists and organisers to really pin down what I'd like the series to achieve. I feel having a clear goal as a curator and organiser is essential. Also recognising the position of power you enter when acting as a curator/organiser, and your responsibility to use this power to address issues in your industry; male dominated music scene, under-representation of fem, LGBT+, people of colour, and Indigenous artists. Now that I have a clear idea of what the series aims to do, I need to confirm all the logistics eg. venue, artists, dates, funds, transport etc. All of which I hope to do next semester! 

6. Other

6. Other
6.i Kid A at Spectrum 2018.1

For the Kid A concert students composed tracks in response to  individual tracks off Radiohead's album Kid A. The concert was presented in the same track ordering as the original album, and the piece I composed was in response to the title track. I took samples from the original track, collaged it together with samples taken from lectures of Jacques Lacan, who devised a trading card set called Kid A in Alphabet Land, (apparently the album's namesake). I also layered processed vocals taking the lyrics of the Radiohead track and recording them as spoken word. This section of the piece culminated in a glitchy beat with heavy sine tone bass. 

       The second section of the piece launched into an 80s synth pop beat, with the character Kid A skating to centre stage where they explained the A-Zs of Lacanian theory, taking text from the trading card set to delivering an over-dramatised 'abecedarian rollercoaster ride through the phallocentric obscurantism' of Lacan, to highlight the absurdism of Lacan's theories. 

We've got ventriloquists (Kid A pt.II) - Annika Moses
We've got heads on sticks (Kid A pt.I) - Annika Moses
6.ii Radio training at RTRFM

In March I began the radio training course at RTRFM which aims to provide participants with the skills and knowledge to present on the station. I was encouraged to take the course by Eduardo Cossio with the offer of presenting the Difficult Listening program. I really enjoyed the course, and have since presented a few small slots on Difficult Listening with Eduardo and Michael Terren, and am soon to present Up Late and Snooze Button programs during June. Since becoming more involved I have realised the extent of what RTR does for the music community in Perth. 

6.iii Nika Mo (folk project)

This project has been continuously brewing in the background of my studies. This year I played at Fairbridge Festival, arranging the music for keys, guitar and two vocals, to be performed by myself and a friend Jacob Wylde. I also began mixing a collection of 8 tracks with Alex Turner to be released as a debut EP entitled messhead. The mixing process was equally rewarding and draining. Two tracks from the EP have been released on Soundcloud - It's still the same time of day [see right] and Divination, but the EP itself still hasn't been released. I lost motivation somewhere during the semester, but I intend to release at least some of the tracks, if not in their original configuration. 

6.iv great statue (electronic project)

I've continued writing electronic music since my first foray around a year ago, predominantly writing within an experimental pop genre. My first great statue gig was at the J Shed in Fremantle for Abode Camp's event Little Windows (a lot learnt from that gig, including always insist on foldback when integrating live vocal processing). My second and far more successful gig was for Rathe: Sequences at Paper Mountain, a new series for live experimental electronic music.


This project has been influenced by artists such as Kaitlyn Aurelia Smith and Oneohtrix Point Never. The possibilities of electronic composition continue to fuel my explorations.

6.v Gamelan studies and ensemble at UWA

In December 2017 I studied gamelan gong kebyar in Ubud, Bali, with contemporary gamelan composer Dewa Alit. During the week I studied with him I learnt a number of traditional gong kebyar pieces on instruments ugal, pemade, kantelan, calung,  jegogan and gong. I also studied traditional ceremony forms on the reyong and kendang (drum). Sitting in on Alit's rehearsal with his ensemble Gamelan Salukat was an absolute privilege; at the time they were rehearsing a piece of Alit's written for gong kebyar and cathedral bells, to be performed in Munich 2018. 

       After returning, I arranged with Louise Devenish to begin a gamelan ensemble using the (extremely underused) gong kebyar kept in Callaway Auditorium at UWA. The rehearsals have been up and running since May. Despite its proximity, I feel the culture of Bali and Indonesia is incredibly under-appreciated in Perth, and I am interested in encouraging a more engaged cultural exchange.

performances / installations

[trio] at Second Iteration launch for Yikes! & Alexander Turner

great statue at Rathe: Sequences

Annika Moses at Outcome Unknown 

Annika Moses, Eduardo Cossio & Nathan Quih at Outcome Unknown 

In cars installation at Cullity Gallery, Audible Edge 2018

Nika Mo (folk project) at Fairbridge Festival 2018 

Darling (a cappella group) at Fairbridge Festival 2018 

Panel and Books at the SLWA

Pool and the Soup with Listener’s Ensemble

Takadanobaba by Lindsay Vickery at Shock of the New, Spectrum 2018.1 

The waves which have kept me from reaching you by Josten Myburgh at Spectrum 2018.1

7. Gigs

8. Reading/listening

8. Reading


soccer mommy Clean (folk) 

Joe Frank, radio narratives 

Broadcast Tender Buttons (distorted synth/guitar pop)

Mort Garson Plantasia (Moog pop)

Kaitlyn Aurelia Smith The Kid  (lush electronic pop)

Colleen A flame my love, a frequency (Buchla ballads)

Doll Release and (lofi indie pop)

Frank Ocean Blonde (contemporary R&B)

Phillip Glass Einstein on the Beach - particularly interested in the way he incorporates text and voice

Anastasia Clarke (experimental vocals and electronics)

Dewa Alit & Gamelan Salukat (contemporary Gong Kebyar)

Felicia Atkinson Hand in Hand, and Coyotes (ambient electronic landscape music)

Olga Bell Край (Krai) (experimental folk/Russian folk concept album)

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