Robin Fox is a leading Australian audio-visual artist working across live performance, exhibitions, public art projects and designs for contemporary dance. His laser works which synchronize sound and visual electricity in hyper-amplified 3D space have been performed in over 50 cities worldwide. The new manifestation of this work RGB LASER SHOW premiered at Mona Foma 2014 (Hobart) and recently featured at Tramway (Glasgow), Vivid Festival (Sydney) and the Barbican (London). His groundbreaking work with Chunky Move Dance Company has contributed to the work Mortal Engine receiving a Helpmann award for best visual production and an honourable mention at the the illustrious Prix Ars Electronica 2009. Other works with Chunky Move include Gideon Obarzanek’s Connected, Antony Hamilton’s Keep Everything and Stephanie Lake’s Aorta. His recent sound work Interior Design: Music for the Bionic Ear in association with ANAT and the Bionic Ear Institute, was shortlisted for a Future Everything award in the UK 2011 and selected by the Paris Rostrum of Composers in 2012. He has recently started Melbourne Electronic Sound Studio (MESS) with Byron Scullin and will be performing a never before heard set for the festival using synths from the studios collection.
Joel Stern is an artist and curator based in Melbourne, Australia. He directs the groups, OtherFilm and Disembraining, and in this and other capacities has been responsible for festivals, publications, exhibitions, screenings and concerts in Australian and internationally for over 10 years, both independently and under the aegis of major institutions. With Danni Zuvela, Joel is the Artistic Director of Liquid Architecture, Australia’s longest running festivals focussing on sonic art. Joel has worked in Indonesia on a number of occasions, performing as an experimental musician, solo and with the group Sky Needle, and initiating collaborations that have led to Indonesian artists visiting Australia. As a board member of Asialink’s artist residency program, Joel has been instrumental in developing links between Australian and Indonesian artists and organisations.
Rosalind Hall works with a multitude of sound technologies and tools such as a modified saxophone, home made instruments, percussion, field recordings and processing software to create live music and soundtracks. Rosalind’s current solo performance work explores how a space can form an extension to a body, her limbs and saxophone evaporate from consciousness as the music she plays transforms the environment and exposes inner worlds. Using multiple microphones on her horn and throat to amplify her pulse and labouring breath, as well as speakers, volume pedals and equalisation to form undulating feedback, Rosalind is attempting to create a shared experience of the transparency and dependency between body, instrument and presence.
Gabi Losoncy is a Philadelphia based artist who moves through the world armed with her cell, with it producing music from the everyday. Recordings of walks, private conversations, street happenings, hospital visits and more are filtered through pockets, wind and her movements. Formerly a member of Good Area, more recently she has focused on her solo work with releases on Alien Passengers, Caduc and Kye as well as her self-released compendium 2015 and ongoing series of Youtube dramas and Instagram pics.
Thembi Soddell (b.1980) is an Australian sound artist and electroacoustic composer living in Clunes, Victoria. Her volatile sonic worlds morph, shift, rupture and disrupture into filmic atmospheres with a distinctly disquieting edge. Contorted into unreal environments and luscious masses of sonic textures, her sound palate sources field recordings, instruments, and electronics to be suggestive but often unidentifiable. Her compositions exploit the dynamic extremes, toying with the listener’s sense of expectation by generating anticipatory suspense. Her main interest lies in the exploration of psychological and emotional experience. She creates work for recording, installation, live performance, and concert presentation. Her CV includes the release of four major composition works for CD recording; guest curation for the National Gallery of Victoria’s Melbourne Now: Now Hear This sound program (Melbourne, 2013-14); works exhibited at the Wellington Art Gallery (Wellington, 2013), Parisonic Festival (Paris 2011), the National Gallery of Australia (Online 2004) and the SFMOMA (San Francisco 2002); solo performances at Australian experimental music festivals such as the Totally Huge New Music Festival (Perth 2009), What Is Music? (Melbourne 2004) the Liquid Architecture Festival of Sound Art(Auckland 2006, Sydney 2005, Melbourne 2001); and two European tours in duo with Anthea Caddy including performances at the Hörkunstfestival (Erlangen 2006),Biegungen Festival (Berlin 2009) and Instants Chavirés (Paris 2006).
Half High is the project of Sydney based artists Lucy Phelan and Matthew P. Hopkins. Half High create a slightly damaged form of ambience through meditative synth lines, various electronics, and
atmospheric tape manipulation. Half High map a sonic terrain that is in parts alien and industrial, and in certain locations, tranquil and mesmerising.
Martin Kay is a sound recordist/artist/designer currently producing audio-montages and compositions that explore the intersection of architecture, psychoacoustics, social-dynamics and place. His works are constructed primarily from un-mixed and un-edited environmental sound recordings, which he captures using a mixture of straight, extended and oblique recording techniques – probing the various unheard material realities, angles and perspectives of a given sound event, as well as providing a tactile space that has surface, texture and reflection, whereby the listener is sensitised to hearing as if it were touch. Through employing a technologically limited (recording focused) work methodology, Kay is driven to find inventive recording techniques that re-contextualise my surroundings as well as inspire fresh and idiosyncratic compositional approaches pertinent to the places, situations and events he encounters.
Peter Blamey is a Sydney-based artist. His work explores themes of sound and energy, and the reimagining of technology through questioning accepted notions of connectivity, variability and use. His practice is typically grass roots, establishing interactions between disparate everyday technologies in order to produce performances, artworks and installations that investigate the relationships between people, technologies and their environments. Peter has performed extensively, including appearances at both experimental music and arts festivals such as What is Music, Liquid Architecture, Electrofringe, the NOWnow, the Biennale of Sydney, Cementa_13 and ISEA 2013. He has collaborated with a range of local and international artists, including Jim Denley, Adam Süssmann, Emily Morandini, Clare Cooper, Anthony Guerra, Rosalind Hall, Kusum Normoyle (in the duo Hard Hat), Dale Gorfinkel, Wukir Suryadi, Sean Baxter and Matt Earle. His work has been exhibited at Artspace, SNO projects, Serial Space, ICAN and Hardware galleries in Sydney, West Space in Melbourne, and at iCAN in Yogyakarta, Indonesia. Sound works have been included in numerous sound-based art survey exhibitions, including Variable Resistance: ten hours of sound from Australia (SFMOMA, 2002), D> Sound (2005) andMusic and Technology Month, Issue Project Room, NY (2010). Beyond that, Peter was previously a director of Pelt gallery in Sydney, and currently plays drums in Your Intestines.
Smash Tennis dispense lysergically bleak voltaic volatilities via acid free tape spiked with detrital drum meanderings, gazing into the sonoversal void to extract and extend experiential paragons for your existential enhancement and observational pleasure.
Carolyn Connors is a Melbourne based vocalist, composer, pianist, and accordionist. She creates new works in the fields of contemporary music and theatre. In 2015 Carolyn composed and performed new works for Liquid Architecture, ABC radio’s Sound Proof, and The Big West Festival; she travelled to Chengdu for the development of new work In a Chengdu Teahouse; performances included SoundOut festival, and works by Aviva Endean for Chamber Made Opera, and Andrea Keeble for the Slow Music Festival. Carolyn was awarded the 2015 Age Melbourne Music Award for Avant Garde and Experimental music. Carolyn’s vocal work expands the possibilities of the acoustic voice. The works with preparations extend the voice, expanding its limits (What comes after love, 2015; Sonatas for Voice and Objects, 2010; Mirabilia, 1992;). The theatre works are designed for listening to: meaning and navigation are embedded in the sound rather than in text or visual cues (Material Mouth, 2007; Nocturne, 2010). Carolyn is also active in ensemble settings. Her trio Hammers Lake with cellist Judith Hamann is informed by new classical, avant-garde, and improvisation practices. As a collaborator she has made new works with many companies including Chamber Made Opera, JOLT, Quiver New Music Ensemble, and Elision; and with many artists including Madeleine Flynn and Tim Humphrey, David Chesworth, Cynthia Troupe, David Tolley, Stevie Wishart, Warren Burt, and Jill Orr. She regularly creates real-time compositions with local and international musicians in improvisation settings.
Anthony is a practising landscape architect working in Melbourne’s acoustic ecology. He has been exploring issues relating to landscape through teaching landscape architecture design studios at RMIT and through artistic expressions in a variety of forms and modes, from facilitating soundwalks across Australia to co-running Naturestrip. The variety of processes and mediums he uses is a reflection of the diverse topography which often manifests in site-specific work.
Manfred Werder is a Zürich-based composer and a long-standing member of the Wandelweiser Composers’ Collective. His compositions have always been challenging and pushed at the limits of our understanding of what music is or might be. His recent works are all short text scores with titles that are simply the year in which they were composed. 2005/1 is perhaps the most well-known of Werder’s recent pieces, and consists of just three words: ort, zeit, (klänge) – place, time, (sounds). There is no further instruction to the musician(s) as to how to realise the score.
Arek Gulbenkoglu is a musician that has been playing on the Australian scene for over 10 years. He has played at numerous Australian experimental music festivals including regular performances at What is Music? as well as i.audio and theNownow. The duo of Adam Sussmann and Arek, in a strange twist, recently opened for Sonic Youth on the Canberra leg of an Australian tour. Arek has played with many of the musicians released on impermanent.recordings as well as local favourites Will Guthrie, Anthony Guerra, Robbie Avenaim, Joel Stern, and internationals Toshihiro Koike, Takefumi Naoshima, and Mattin. He has also released two records with Dworzec, the last of which came out on fine New Zealand label, metonymic. More recently he is a member of Green Beret.
Simon Charles (1984) is a composer and improvisor based in Melbourne. He performs on saxophone and electronics. His compositions typically explore Just Intonation, and the integration of electro-acoustic media in notation and performance. He has composed work for orchestras, including the Arcko Symphonic Project, and the Melbourne Symphony Orchestra, as part of the Cybec, 21st Century Composers’ program. His work Atropos, was premiered by the Melbourne Symphony Orchestra in 2012. He has also composed works for Speak Percussion, Lizzy Welsh, Peter de Jager, Ryan Williams, Matthew Horsley, Callum G’Froerer, Aviva Endean, Sarah Curro and Kim Tan, which have been performed at the Melbourne Recital Centre, the ANAM Quarttethaus, Next Wave Festival and This is Not Art Festival. In 2014 he was commissioned by the Australia Council for the Arts to compose Crepuscule, a work for baroque violin, recorder, harpsichord and electronics. The work explores notions of the decay and dissolution of musical syntax, through granular synthesis and tuning systems based in Just Intonation and was premiered as part of the MCM New Music Studio (Melbourne University). Solo performances often use sine tones and reel-to-reel tapes to explore tuning systems developed through Just Intonation. This work documented in Just Sine Tones, undertaken through Punctum Arts’ Seedpod Residency program. His work in electro-acoustic improvisation is documented in Melpomene, by Footsoldiers (duo with Alisdair McIndoe), released through Ivory Tower Records.