➁２ - ➁❹
Ｎ❁𝕍ᵉ𝔪𝒷Σя
❷ʘ➁➃
Friday from 8PM + Saturday from 4PM @ Hollywood Avondale
Sunday School @ Old Folks Association from 2PM
Previously produced in 2019 & 2022, organisers Grace Verweij and Tash van Schaardenburg have curated the festival to potentiate both deep listening experiences and unique dancefloors with a programme of live performances and workshops by adventurous and genre-spanning practitioners, including sound installations, new media artwork, glitch, deconstructed club, emo electronics, ambient, gorge, modular synths, hyperpop, maximalist breaks, broken cassettes, mutant classical, ambisonics, technonaturalism, taonga pūoro, drone, IDM, noise, and surprises unearthed from the counterforce artists of electronic music.
This new iteration of the acclaimed festival presented by musical non-profit The Audio Foundation will take place across 2-buildings at the historic Hollywood Avondale complex (featuring visual-work from Tāmaki-based artist East and live VJ’ing from Naarm-based cyberboy666 on the Hollywood’s cinema screen) followed by a sonic Sunday school at the Old Folks Association over the 22nd, 23rd & 24th of November featuring....
Performances by:
✴Jannah Quill_✴_Vanessa Worm_✴_Borrowed CS✴
✴Big Fat Raro_✴_Dream Chambers_✴_Current Bias✴
✴Green Grove_✴_Wear Pounamu & Waiwhai_✴_Wilieu✴
✴Aroha Abigail Jensen & Riki Pirihi_✴_BJ Leo_✴_mHz✴
✴Hasji_✴_Jonny Marks_✴_L.$.D Fundraiser_✴_JHL✴
✴Amy Jean Barnett_✴_Tocka_✴_Kraus_✴_Teddyyy✴
Art Installations by:
Ducklingmonster, Sarah Callensen, The Musical Electronics Library, Jess Robinson, Ivan Mrsic, Franklin Bryce, The Observatory Project
Talks & Workshops by:
Dr Mo Zareei, Jess Chambers, Tim Caldwell
Projected visuals by:
East, Cyberboy666
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Amy Jean Barnett
Amy Jean Barnett (b. Pōneke Wellington, New Zealand) is a composer and artist working with sound, performance, installation, and acoustic ecology in her practice.
With a background in the visual arts, Barnett has presented sound and music commissions for Adam Art Gallery, Audio Arts Aotearoa, Pyramid Club, Ars Electronica, and more. Alongside her performance practice, she has exhibited multichannel sound works at Gus Fisher Gallery and Toi Pōneke Arts Centre.
Barnett’s live performances weave intricate narratives through sound, drawing on electroacoustic techniques, minimalism, and field recordings. By embracing classical motifs with electronic synthesis, she creates elegant auditory environments imbued with contemplative moments. Through shifting textures, her work invites listeners to engage with the subtle complexities of sound, unfolding over time.
Abigail Aroha Jensen
Abigail is an inter-disciplinary artist who loves to play in all sorts of arrangements with friends and family. She has played and exhibited her work throughout Aotearoa and Internationally. Her latest sound installation was recently presented at the Busan Biennale in South Korea. She likes to weave with waiata, random debris, field recordings and taonga pūoro. She loves bells. She uses a mixer for some sets, other times a bowl of water will suffice.
Riki Pirihi
Riki Pirihi (Ngāti Wai, Ngāti Maahanga) he ringapuoro, he
kaipatu tara i tēnei wā e noho ana i Te Whanganui-a-Tara.
Kāore anō ia kia tino mārama ki te tikanga o te puoro, engari
kei te ngana tonu ia ki te whakapiki i tōna mātauranga.
Ināianei, kei te parakatihi ia i te pāorooro, kei te waihanga
puoro mō ngā kiriata, ā, kua waihanga hoki ia i tētahi tikanga
e kīia nei ko Rangatuone mō te tuhi waiata mō ngā taonga
pūoro. E rua āna tamariki ātaahua, ā, he tino pai ki a rāua te
whakatoi i tō rātou pāpā mō tōna pōtae āhua kore.
Big Fat Raro
Big Fat Raro, also known as Tokerau Brown (ia/Kuki Airani), is a Tāmaki Makaurau based artist, an award-winning illustrator, animator and musician. Brown creates their distinctive sound combining Pasifika narratives, synths, drum-machines, samplers and industrial noise. Drawing from their Kuki Airani (Cook Island) roots, their mahi carries a new wave sensibility alongside messages of healing and sovereignty. Brown recently appeared on Mokotron’s ‘United Tribes of Bass’ and is a co-director of Wheke Fortress, an Indigenous artist-run space and music studio in Onehunga.
BJ Leo
BJ Leo, is a composer and sonic artist from Tāmaki Makaurau. He has released works on Finest Ego (DE), Related Articles (NZ) and Strange Behaviour (NZ) and exhibited multi-channel installations in Aotearoa, Australia, Europe and China. He is a recent graduate of the sonic arts programme at Te Kōkī – NZ School of Music and was the 2023 Toi Pōneke Sound Artist in Residence. His most recent exhibition, Breathwork, is a 32 channel installation exploring the sound of air currents through spectral decomposition.
Borrowed CS
BCS is Borrowed CS (/ Borrowed Cassettes).
BCS is a container for the electronic music curiosities of drummer, composer and studio rat Cory Champion.
BCS is an established and respected musical voice in the Aotearoa electronic music underground with over a decade of releases through his own imprint as well as labels such as Planet Trip (Sydney), Wonderful Noise (Osaka), M$R (Berlin) et al.
BCS is refining patterns and sequences of dubby deep house and [ambient] techno music.
CYBERBOY666
cyberboy666 is a video-artist & toolmaker interested in: experimental media-art, electronics, creative code, open source, hack culture, community space, outsider film making, weird&trash cinema
Green Grove
Green Grove is the musical project of Durham Fenwick. Serving as a vessel for musical/creative exploration, the nature of Green Grove's sound remains transient, with recurring nods to library, ambient and lounge music.
Hasji
Hasji makes Urban Gorge - attempting to speak to the base rhythms and peace that are tucked away in the overstimulated structures of city lifestyles. Through this Hasji aims to promote sonic rongoā, cultivated thru an awareness of the relationship between ecological urgency and urban anxiety, and a continued kinship with our maunga of many forms.
Jannah Quill
Jannah Quill is a Naarm-based multi-disciplinary artist who critically expands the possibilities of electronic technologies to present boundary-pushing works of experimental music, audio-visual installation and sound art.
She is a leading figure in contemporary modular synthesiser music in Australia, undertaking several projects with Melbourne Electronic Sound Studio and a coveted residency at Elektronmusikstudion in Stockholm. She carves a uniquely feminine voice in this field, through her longstanding and sensitive practice on the historically significant synthesiser, The Buchla and ongoing research into intuitive composition and its relationality to generative computational histories.
She has been widely acknowledged for innovative methods of transmuting light into audio in her radical audio-visual practice, with major presentations at Soft Centre Festival, Arts House and The Lab.
Jannah has been platformed by several major arts festivals including Liquid Architecture, Unsound, Now or Never, Rising and Underbelly Arts and presented at Melbourne Recital Centre, AGNSW, Museum of Contemporary Art, The Substation, Arts Centre Melbourne, Ian Potter Museum of Art, Artspace, ACMI, National Taiwan Museum of Fine Arts (TW), Ting Shou Hear Say (TW), Korner (TW), Kyoto Art Center (JP), Forest Limit (JP), Fruity Space (CH) and Nonagon (SE) among others.
On top of a thriving individual practice, Jannah has lent her distinctive voice to many collaborations, including several projects with Australian experimental lighting designer House of Vnholy and numerous improvisatory experimental performances with leading musicians including Fujui Wang (TW), Chris Corsano (US), Rohan Rebeiro and Kusum Normoyle. She has contributed sound design for choreographers Sarah Aiken, Bec Jensen and Anna Seymour and released music on independent record labels Sumac, New Weird Australia, Paradise Daily and Body Promise.
JHL
JHL is an Auckland-based singer-producer specialising in the cross-section of pop and the avant-garde.
KneesTV
Knees TVs is an avant-garde visual installation presented on retro TVs for events. Utilising old camcorders & glitchy circuit bent equipment to present an otherworldly visual experience all displayed on a stack of classic CRT TVs. If you don't feel nostalgic seeing our installation, you're too young :)
Kraus
Kraus (aka Pat Kraus, he/him) is a producer of psychedelic music based in Tāmaki Makaurau. Starting his musical life as a drummer in Ōtepoti bands such as The Futurians, Kraus has released over twenty solo albums since the turn of the millennium. Drawing on an extremely wide range of influences, from contemporary West African synth music (eg. Hama) to the outer limits of 70s psychedelia (Pärson Sound, Les Rallizes Denudes), and from early electronic pioneers such as Laurie Spiegel to the traditional folk music of East Asia, Kraus conjures a rich and evocative sound-world through vividly modal and minimal compositions for guitar, synthesizer and drums. His recent synth-heavy work melds sci-fi sound-design and hypnotic polyrhythms to create new forms of head-spinning electronic music.“Corrosive and masterful” (Byron Coley, The Wire)
“One of the most quietly important and interesting people making music in New Zealand” (Kiran Dass, The Listener)
L.$.D Fundraiser
L.$.D Fundraiser destroys their archive of cassette four track recordings and rebirths them as cassette loop tapes. Played on various machines to present ouroboros rock, luddite blues, Otepoti exotica & un/popular muzak for un/popular people.
mHz
Mo H. Zareei aka mHz is an Iranian sound artist and researcher based in Wellington. His artistic practice ranges from electronic music composition to audiovisual performances and kinetic sound sculptures. He has presented his work at York Art Gallery (UK), Brisbane Powerhouse (AU), Vancouver Art Gallery (CA), Azadi Concert Hall (IR), and Adam Art Gallery (NZ), to name a few. His installation “Rasping Music" was the recipient of the 1st prize for Sound Art at the last iteration of the international Sonic Arts Award in 2015 (Italy).
Under the moniker mHz, Zareei’s electronic music projects have been published via Room 40 (AU), Important Records (US), leerraum (CH), and Kasuga Records (DE).
STATEMENT
Commissioned by Brisbane Powerhouse, "Cruise Missile Intersectionality" presents a blunt political commentary on the paradoxical nature of performative allyship. Building on the trajectory set in Proof Of Identity (Cassauna/Imprec, 2023), the live-set is a tongue-in-cheek audiovisual onslaught on the feel-good politics of Western liberalism.
Dream Chambers
Dream Chambers is the moniker for multi-faceted musician and composer Jess Chambers. Her current live set weaves textures of modular synthesizers, voice, and deep intuition – crafting gorgeous movements that refract natural patterns and brim over toward the ineffable. A sound recently described by The Nashville Scene as ”... full of warm, organic emotion, alternating between tuneful musicality and raw, spiritual fervor”.
Born in Aotearoa and initially known as a singer-songwriter and for her collaborations with The Woolshed Sessions, Rhian Sheehan, and The Upbeats. Jess relocated to Nashville, Tennessee in 2012 where she encountered a vibrant underground electronic music scene and began a transformative journey into the world of synthesizers.
A seasoned performer, she has graced stages across the United States, Aotearoa, and Australia including support for artists such as Fleet Foxes (US) Trentemøller (DEN), and Nadah El Shazly(EGY). Last year she toured the US performing a live score of the 1920s classic vampire film ‘Nosferatu’ and collaborated with Nashville-based classical ensemble Chatterbird for a concert featuring seven of her works expanded for flute, clarinet, violin, viola, cello, and harp, arranged by composer Sonya Waters.
Now based in Te Wanganui a Tara, she teaches music production, composition, and, performance at the Massey University College of Creative Arts and co-facilitates Techno Echo at Pyramid Club, a monthly meet-up for women and gender-diverse creatives to learn about music technology.
East
East (Ngāti Whakaue) is an experimental visual artist based in Tāmaki Makaurau. Drawing inspiration from Papatūānuku, they are interested in combining organic landscapes with digital abstractions, creating works that blend the natural environment with the virtual realm. East will be presenting a series of visual compositions filmed in collaboration with friend and fellow Tāmaki based artist Joe Curtis. The pair have created works using both digital and analog material, that capture the subtle movements of nature by using motion extraction and layered blending.
Sarah Callensen
Sarah Callesen is sound and visual artist engaged with themes from technology, psychology and feminism. Discovering a lack of women visible in the histories of STEM and early computer and sound art, led to an investigation into bias prevalent in knowledge construction. Information is explored as a dynamic material that harbours both potential and loss, as it passes between poles: sender and receiver, or in the conversion of image to sound and vice versa.
From Te Papaioea Palmerston North, lives in Tāmaki Makaurau Auckland.
‘Truth Approximations & Echo Chambers’, 2021
6-channel sound installation (20mins duration): 3 steel stands, 6 cone speakers, 3 amplifiers, 3 media players, 3 USB flash drives containing 3x 2-channel audio files, power adapters and electrical cabling. Each stand 1700mm x 300mm x 1600mm, overall dimensions variable.
Information is complicated, riddled with biases inherent in its producers. In her essay ‘Situated Knowledges’ (1988), feminist theorist Donna Haraway argues knowledge is located in a certain time, place, and social and cultural context. This concept was employed to reflect on gender inequity within the histories of STEM and early conceptual female artists working with STEM, including Agnes Denes (US, b. 1931)—the project title references two of her works. The first half of the 20-minute piece is comprised of field recordings made at Waipapa Taumata Rau University of Auckland: electromagnetic field recordings made within Elam’s main building; recordings made within the Faculty of Science building (chosen in response to 7 UoA science professors who publically claimed mātauranga Māori isn’t science); and the anechoic chamber at the Acoustic Research Centre, which had 9 academic staff, all male [in 2021]. The second half of the composition is an etching by Agnes Denes converted to sound.
Teddy
Teddyyy is the musical project of Theodore Holmstead-Scott (Rangitāne o Wairau), raised in Te-Whanganui-a-Tara and based in Tāmaki Makaurau. After graduating from Elam School of Fine Arts, he co-founded the iconic queer club night NYMPHO.
Weaving pop acapellas through a tapestry of ambient, trance and emotionally-driven EDM, Teddyyy has opened for hyperpop icons 100 gecs, Doss, horsegiirL, Umru and Petal Supply. His ear-candy SoundCloud mashups have garnered over 1,000,000 streams, with his viral Ethel Cain remix featured in JW Anderson’s SS24 show at London Fashion Week.
Freshly minted as a producer/songwriter, Teddyyy’s latest single, 'Radio', debuted at #1 on 95bFM and embodies his reverence for pop and electronic music.
Točka
Based in Te-Whanganui-ā-Tara, TOČKA is a self-taught producer creating heavy, glitchy, deconstructed electronics. Showcased on their 2022 (Soliloquy) & 2024 Sarcologue albums, TOČKA weaves a comprehensive web of musical threads together to create vast sonic environments. An eclectic mixture of trap, art pop, ambient and experimental influences fuse a breadth of caustic textures and eerie instrumentation. TOČKA’s debut live set at Outlier will certainly offer a limitless spread of electronic styles; an experience not to be missed.
Vanessa Worm
Vanessa Worm is a Tāmaki Makaurau-based singer, songwriter, producer and DJ. As described by Optimo Music, who
released her debut Vanessa 77: “her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma” An alchemic improviser with driving force that entrances and consumes, her sound features folk, dancefloor beats, post punk, drum n bass, and electronic pop.
Wear Pounamu & Waiwhai
Driven by the steadfast spirit of tino rangatiratanga, weaving abstract sample-based compositions with ancient sounds from the future via ngā taonga puoro, Wear Pounamu (Te Atihaunui a Pāpārangi via Te-Whanganui-a-Tara) and WAIWHAI. (Te Parawhau, Te Uriroroi, Ngāti Māhuta via Tāmaki Makaurau) bring the vibes nō te ao kōhatu ki te ao hou. Wear Pounamu brings the taniwha type beats, cloaked in mist and bringing sub-heavy messages from the whenua, while WAIWHAI. brings the fluid rhythms and melodies of ngā taonga puoro me te ao electronica by way of sonic ancestors such as Milford Graves, Sun Ra and Hirini Melbourne. Walking backwards into the future, forever and never. Mauri ora.
Willieu
From the northernmost elm tree residing by a rocky river - this area's local rodents and snails kindly lent their time to this project.
Remember comfort, consideration, belonging.
BUͧͧͧRͬͬͬN DͩͩͩͩOWN THE MUSIC INDUSTRY TO ASH FROM THE INSIDE
BURN IT ALL BURN IT ALL BURṄ͙̅̎ IT ALL
