IAN BLAKE: News

SANS, the new combo with Tigran Aleksanyan, Andrew Cronshaw and Sanna Kurki-Suonio, will be starting this year's European tour on June 23rd with the Home Festival at Dartington Hall in Devon.

But before that, some theatrical stuff: I've just been doing some creative development on a project by Zsuzsi Soboslay, Anthems and Angels, and I'm about to get into sound design mode for a project from Jigsaw Theatre. Plus playing for Canberra's Finnish dance group Revontulet and singing with Coro, a new chamber choir.

The Blue Bear studio complex has been busy recording classical guitar and violin duo John Couch & Judith Hickel, and editing live concert recordings for The Oriana Chorale.

And my apologies to the person who took the trouble to write in the guestbook recently whose post I inadvertently deleted. Because of the amount of spam that appears there, comments have to be approved: I was in a deletion frenzy, busily zapping away and your post, which I remember mentioned Pyewackett, disappeared. There's no Undo...

Here's the video of that SANS show at St Ethelburga's. I'm relaxing there at the end of the stage, just listening to Sanna finishing the concert with a beautiful Finnish lullaby. Because sometimes it's best to just listen.

Taedet Animam Meam by ianblake

...and The Pocket Score Company recently recorded this: we're working up to a CD to be released in 2012. It's from the Matins of the Dead, set by Tomás Luis de Victoria.

Now, this is Francis Pilkington's lute song 'Rest Sweet Nymphs' in a version for four voices:

Rest Sweet Nymphs by ianblake

Here's a new venture: SANS is a quartet which came together in Finland at this year's Kaustinen Festival. We liked the results! So we'll be doing some more shows, starting in London on October 23rd. The band includes Tigran Aleksanyan on the Armenian duduk, the voice of Sanna Kurki-Suonio, Andrew Cronshaw on electric zither and various interesting wind instruments, and myself on soprano sax and bass clarinet.
Andrew Cronshaw's new CD features the musicians of SANS and will be available then too.
The concert is at St Ethelburga's Centre. It's always great to play in a church: seems to be the natural habitat of The Pocket Score Company, and Lichfield Cathedral was a splendid setting for the concert with Andy and Tigran back in July at the Lichfield Festival.

On a recent trip to Paris I interviewed Kaija Saariaho and caught up with Richard Lewis, whose music you can listen to at Radio Delevine. Meanwhile, I'm back in Australia for a few weeks, working on forthcoming CDs. At the wisteria-clad Blue Bear Studio, Thai Lee is making an atmospheric keyboard and vocal-based album: if you like Enya's music, you'll enjoy this when it emerges. The Pocket Score Company will be recording a few rather old songs shortly plus something fresh from countertenor David Yardley.

And some new projects have been released: Fred Smith's 'Dust of Uruzgan' has been getting some great reviews; Peter Woodley's collection of Flute Tunes is out, as is Lynne Pilbrow's second volume of FunMusic for Little Kids which is all about Transport.

I've just visited Music for Everyone where rehearsals are now under way for a new performance of my music theatre piece for young players: The Gathering of the Animals, directed by Dianna Nixon. Written in 1998, it'll be great to hear it up and running with a new generation of performers.

And The Pocket Score Company is getting to grips with the new material for the Homecoming concert on June 5th at St.Pauls Church in Manuka ACT.

Over at the Blue Bear studio complex, we're busy with projects from Freyja's Rain, Andrew Cronshaw, Peter Woodley, Fred Smith and FunMusic for Little Kids, and will be recording the Oriana Chorale's concert One Foot in Eden on April 16th.

More tarogato activity: Nicole Canham has been recording an EP featuring the instrument, and I've just heard that I've now got funding from artsACT to write a piece for tarogato, strings and soundscape.

My music was featured in a recent talk given by Andy Ross of the Centre for Creative Industries, Shetland: he'd made the trip down to Wales for the Warp and Weft Symposium to speak on the links between weave and music.

If you're in Paris next week you can hear twmp: a piece I wrote for Nicole Canham and her tarogato Goldilocks, plus soprano sax, which will be played by Claude Delangle. This is the European premiere: twmp had its first outing back in June at Lyneham's Front Café and Gallery in our Sound Bites concert: 'Bite-sized pieces for winds, electronics and drums; by Bach, Blake, Piazzolla, Tsiavos and Edwards.'

It was a mix of improvised and pre-meditated music, including another of my tunes: The River Daughter, for voice and rather a lot of bassoons — all wielded by Zoey Pepper.

The concert also featured saxophonist Niels Rosendahl and the rapid-response creativity of improvisers Miroslav Bukovsky (trumpet/flugel) and drummer Col Hoorweg.

Marguerite Boland mentions the show in the new ANU School of Music publication Som.Times. Her article is unnervingly titled Irrelevant Music — but that's just a lead-in via some thoughts in Kenneth Gaburo's essay on the beauty of that irrelevance. For the more irrelevant the music, the greater the freedom of the maker to knit their own context and meaning. Existentialism for composers?

Here's The Pocket Score Company — Canberra's most compact fullrange male voice ensemble — rehearsing for a pair of concerts which we're sharing with the women of Polifemy. So we're going to be singing in stereo for some pieces by Orazio Vecchi, Tomás Luis de Victoria, Nicholas Gombert and Michael Praetorius.

The PSC on its own will sing Encina, Guerrero, Leonel Power and a new piece from countertenor David Yardley.

Both shows are in Canberra: at St. Margaret's/Holy Cross in Hackett on September 25th at 5pm, and St. Paul's in Manuka on the 26th at 3pm.

One of the nice things about having visitors from overseas is the chance to indulge in some local tourism: the sort of things you always mean to get round to but need that extra prod to actually do. So when friend and musical collaborator Andrew Cronshaw turned up for his first visit to Australia it was an excellent excuse to get out and about in the beautiful Canberran autumn and see the sights. Andy's a keen photographer, and the wildlife seemed to turn up right on cue.

We played at the National Folk Festival in Canberra and the Fairbridge Festival near Perth: two of my favourites.

Also at the National: the launch of Sunday at Sandy's, the new CD from Cassidy's Ceili.

I'll be heading to England in October to take part in the next Cronshaw recording, along with Svetlana Spajic and Sanna Kurki-Suonio: formidable singers both, so there'll be some suitably hair-raising vocalising going on.

I've had my recording and producing hat on recently: several projects are emerging from the Blue Bear Studio complex. Humbug will be at the Turning Wave Festival in Gundagai NSW on September 18th to launch their new Robbie Burns flavoured CD, and
The Rafael Jerjen Quartet has the Canberra launch of the new album on October 15th in the ANU Big Band Room.

The FunMusic for Little Kids book and CD is being unleashed by Lynne Pilbrow and myself on November 15th at St. Barnabas' in Charnwood, ACT.
Lynne says: "The FunMusic for Little Kids program aims to introduce musical knowledge, skills and concepts to children in a fun way, and is designed to foster an enjoyment and love of music. FunMusic draws on the methods expounded by music educators such as Kodaly and Orff, but has been developed to be relevant and accessible to children living in Australia. Lessons are based around themes appropriate to the age and experiences of young children." Here's a sample.

And some time or other, the latest collection from Canberra's most celtalicious combo, Cassidy's Ceili, will be showcased. We'll let you know.

My clarinet quartet Starling gets an airing with ABC Classic FM
on October 3. It's on the At Home programme at 7.05pm

I'll be improvising like mad this weekend: it's the Respect festival at The Street Theatre in Canberra, hosted by Impro Theatre ACT. Actually, I'm usually improvising but this time it's official...

The Blue Bear has been recording local hiphop people Young Proof and experimenting with bearish beats. Thanks here to Multicultural Youth Services ACT.

I'm knitting a soundwork from Moya Simpson's voice and some noises of London for the show Big Voice: at The Street Theatre starting May 13th. It features Moya and Sandy Evans, and is directed by John Bolton.

Rehearsals are well under way for NachtMusik, the latest concert from The Pocket Score Company. Australia's Renaissance blokes take on a slice of good music from German-speaking countries, from the thirteenth-century Neidhart von Reuenthal to JS Bach, via Senfl, Isaac, Hassler, Eccard, Othmayr, Gumpelzhaimer, Vulpius. We hadn't heard of some of these chaps either until we started nosing around a bit... and you can't go past a composer called Gumpelzhaimer. In fact, we were thinking of re-naming the group The Gumpelzhaimer Brothers. Or perhaps The Liederhosen.

The concert is at 3pm on July 5th at All Saints' Church in the Canberra suburb of Ainslie. So it's NachmittagsMusik rather than NachtMusik. We needed to change the time... but it's still full of good stuff like Heinrich Isaac's hit Innsbruck, ich muß dich lassen — here we are, rehearsing in tenor George's kitchen:



And on May 3rd you can hear Clarity Clarinet Quartet play my tune Starling live from Melbourne's Iwaki Auditorium courtesy of ABC Classic FM: Sunday Live starts at 3pm.

You can now hear some audio from recent Radio 3 adventures with Andrew Cronshaw, Tigran Aleksanyan and Svetlana Spajic at this year's WOMAD. Look for Track 6 at CronshawSpace.


And there's a hitherto unpublished review, by Bill Stephens, of Quantum Leap's show My Sister, My Brother in the online Canberra journal the riotACT.

I've been recording the distinguished rhythm section of Liz Frencham (bass) and Jon Jones (drums) for a project involving Fred Smith and The Spooky Men's Chorale in a collection of urban sea shanties. Which made a nice change from working on a chunk of sound art involving London's most melodically inclined tube train driver (with a unique intercom style) and the trains themselves, duetting with bass clarinet in a piece entitled '...the burning Thames I have to cross', featured at Canberra's M16 artspace in the exhibition The Gathering. The title alludes to the English ballad The Grey Cock aka The Lover's Ghost - another spooky man who might have found it 'quicker by Tube'... as they used to say in the old days, when in fact it wasn't at all. Back then I appreciated the rattle and hum of those Northern Line trains when they did eventually turn up, reeking of warm dust and electricity, stale smoke and an unidentifiable whiff that set the reptilian brain a-thrumming...

The Grey Cock, originally from the singing of Cecilia Costello, also turns up on the second Pyewackett album The Man in the Moon Drinks Claret.
I was (pleasantly) surprised to find a Pyewackett Appreciation Society on Facebook a few days ago. Thanks Frances!

Other recent recording includes a new song, Kids at Heart by Johnny Huckle, and a concert at the National Gallery of Australia by The Griffyn Ensemble which involved chasing the band around various galleries as they matched music to artwork: field recording in comfort! And Lynne Pilbrow's early childhood music education resource Fun Music for Little Kids is coming along nicely, providing an excellent excuse to play a lot of the studio's instrument collection: mbira, banjo, bass clarinet, sax, ocarina, cittern, concertina, harp, zoob tube and ukulele so far. I'm awaiting the opportunity/excuse to break out the Stylophone again.

My years of experience making animal noises for BBC Schools radio programmes (The Song Tree) came in handy the other day when I sessioned at someone else's studio (David Pendragon) for Kathy Possum's new kid's music project. Lots of fun: I got to be a dinosaur. However, Jon Jones, drummer about town, got to be a belching dinosaur. From time to time we pretended to be a rhythm section...

The Quantum Leap show My Sister, My Brother takes the stage at The Canberra Theatre today for four days of performances: take a look at the QL2 promo.
I've written and recorded a piece for the segment One of Us, choreographed by Patrice Smith and the Quantum Leapers.

The new combo with Andrew Cronshaw, Tigran Aleksanyan and Svetlana Spajic made its debut at the WOMAD BBC stage in Wiltshire last weekend: a rich mix of Serbian village vocal music, the mesmerising sound of the Armenian duduk, and two Englishmen trying to keep up.

And I've just ventured into this blogging business...

According to Clint Eastwood's character in In the Line of Fire, it's ukulele and not ukelele. Have I been getting it wrong all these years...? Clint plays a craggy FBI chap with a lounge piano habit who would probably have known about this sort of thing: a quick googling of 'ukelele' leads with that slightly eyebrowraised question Did you mean: ukulele? but a trip to Wikipedia reveals ukelele to be a variant spelling common in the UK. Aha! Tapping into the race memory there. That's a relief. Mind you, the ambiguous schwa, as in /ˌjuːkəˈleɪli/, could go both ways...

If all this seems somewhat retentive, let me put it down to The Method: I've been developing the character of Brendan Nelson, Leader of the Liberal Party in Australia (this evening at least), who's plinking a pink Flying V uke in the political cabaret Three Nights at The Bleeding Heart.

There's a glowing review from Alice Allan in Australian Stage Online. And a real stinker from Aaron Ridgway in The Canberra Times, which I'll link to as soon as I can find where it lurks online. I think these reviewers attended the same performance, so you could take an average...

Once again, the rafters of the Belconnen Labor Club rang to the strains of Sean O'Problem & The Alpha Rhythm Boys as this forward-thinking chamber ensemble premiered its Fantasia for Stylophone and Folk Combo last week and received much-merited plaudits plus the odd Guinness.

Zoey Pepper's March concert went very nicely, with a programme including my new piece for voice and bassoon which had at last acquired a title: The River Daughter. On the right is Tiepolo's view of the story, in which Daphne is starting to sprout laurel leaves just as Apollo catches up, while her unimaginative rivergod dad (responsible for the transformation) looks on.
Not a brilliant solution, but a great poem... (Ovid, Metamorphoses)
The menu ranged from Monteverdi to a brilliantly channelled manifestation of Dead Elvis (Vegas Period) wielding his reedy rod.


I've just completed a ten-minute piece for Quantum Leap's forthcoming work My Sister, My Brother: QL2 Centre for Youth Dance are working with a group of choreographers and composers to bring this show to the Canberra Playhouse in July.


The Blue Bear has been capturing Mike Jackson's performance for Lynne Pilbrow's FunMusic for Little Kids project. Ted Ibert, the studio manager, is a Bear of Few Words, but did mention that he liked We're going on a Bear Hunt: which seems somewhat counterintuitive unless you know the song.

One of the great things about doing music for kids is the chance to explore a wealth of sound possibilities over the course of a CD's worth of short songs. And to try and make it fun/tolerable for groanups too. The floor is covered in instruments: looks like this project's going to include ukelele, ocarina, hot fountain pen, bass clarinet (handy for elephant impersonations), the distressed banjo, the much-reviled melodica (dunno why: it's a great sound), and one of the Rigby Brothers' paraceltic lap harps. That'll do for now.

Überceltic chantoozie Cassidy Devine was unable to attend the Cassidy's Ceili gig at Belconnen Labor Club last week, so a quick call managed to rustle up Sean O'Problem & The Alpha Rhythm Boys. As Frank Zappa once pointed out, the most important thing in art is the Frame: a focus, perhaps, provided by the Boys as they stood there occasionally vogueing in a dilatory fashion while drawing attention through their unique brand of Absent Audio™ to the devastated acoustic ecology of The Belco Labor Club.

(Horacio Vaggione says: 'I don't know a musician who doesn't, in one way or another, produce "a listening proposition". Each musician proposes...a way of perceiving things which in fact is an operation that produces meaning...An acoustical fact is always a musical fact.' While Helmut Lachenmann asserts: 'One can only try — in whatever way — to create situations which bring people back in touch with their concealed (and contused) antennae and therein with their own creative potential.')

The Boys achieved a perfect balance as the evening wore on: an eerie equilibrium of non-music and non-audience; Nabokov and Cage gazing down from Heaven the while, as together they waltzed away the night.

Off to Western Australia this week for the Fairbridge Festival: playing English music in a folkrockish vein with Brian Heywood's rootybeat combo Bluetongue. (Not a livestock-threatening disease but a fine Australian lizard. Faux Croc, perhaps?)

Lots of shows coming up: have a look at the Gigs section. Particularly at the Zoey Pepper concert on March 7th, featuring a new piece for voice, bassoon and computer. I'll post a recording of the results after the concert. In June, I'll be at Canberra's Street Theatre in a satirical cabaret with Shortis & Simpson and Queenie van de Zandt, exploring our shiny new regime...

To Europe in July for Finland's Kaustinen Festival; and WOMAD in Wiltshire with Andrew Cronshaw, Tigran Aleksanyan and Svetlana Spajic. A new CD should be forthcoming at the year's end. Meanwhile, Svetlana and Andy, plus soundman Jamie Orchard-Lisle, have been working with some remarkable singers from Žegar in Dalmatia: the group and the resulting CD are known as Žegar Živi: "Žegar Lives".

It's Sydney's turn for a Clarity Clarinet Quartet CD launch: Second Door on the Left will lurch down the slipway on February 25, 6pm at The Australian Music Centre, which lives at The Arts Exchange, 10 Hickson Road, The Rocks, Sydney. This worthwhile disc includes my tune Starling.

To those of you who attempted to attend the Sean O'Problem & The Alpha Rhythm Boys happening in downtown Canberra on the 22nd: our apologies. There was a bit of weather around which meant that this al fresco gig got canned. Not to worry! With a Sean O'Problem performance, not being there is as good as being there. Or you could be there even if the Rhythm Boys aren't....

There'll be other opportunities to take in the Sean experience: meanwhile, Cassidy's Ceili will be celebrating St Cecilia's day at 8.30 on the 22nd. Belconnen Labor Club is the place, and remember, this is a classy joint, so if any of you scruffy beatniks are planning to attend, could you please make an effort for a change. It'll be Celtic Twilite Theme Nite for us, so expect the band in something green and diaphanous as a wisp of chlorine, wafting away while the pokies bleep and jingle merrily in the background.

Back in Australia, working on some new projects: spent a few days with Moya Simpson and director John Bolton in a creative development period which will lead to a one-woman show from Moya.

Sandy Evans was also taking part, and I'll be meeting up with her again in Brisbane for Fundamental Sounds: a multimedia concert featuring Sandy's saxes, William Barton's didge, Jon Jones' percussion, and soundscapes from myself, along with dance from Saman plus text and images from Keith Armstrong and Inkahoots. That's on December 2nd at the Conservatorium Theatre on Brisbane's South Bank.


The Pocket Score Company will be singing at The Carriage Works in Redfern on November 23rd: part of the new Musica Viva Ménage series. There'll be live electronics from Jen Sochackyj and images from Adam Dewhirst.

More from the PSC on December 16th, when we'll be presenting Spanish Music for Advent at All Saints' Church, Ainslie, ACT, featuring the delicious Missa de Beata Virgine from Cristóbal de Morales plus late mediaeval music from the Red Book of Montserrat. Kickoff at 4 o'clock.

Clarity Clarinet Quartet is playing Starling at BMW Edge, Federation Square, on Saturday November 17th, 8pm: it's the Melbourne launch of the CD Second Door on the Left (bookings 1300 723 253)

And on November 29th at 6pm the new National Folk Fellowship is announced at the National Library of Australia in Canberra. I'll be talking about the work I made as this year's Fellow, and giving a brief performance in glorious surround sound...

The appallingly Celtic Cassidy's Ceili had a fine old time of it at the Beechworth Celtic Festival last weekend. More kilts per kilometer than I've seen hitherto. There is apparently a Jones tartan, a muted and tasteful little number in shades of blue and green; so we of the Welsh rhythm section could have run up some fetching outfits for the occasion, had we but known. And there's something engagingly marsupial about a sporran or sgrepan... a pouch in either language...

Yet another soft day in gray Paree: ideal weather for taking in organ music at Notre Dame and a visit to the relatively untouristed Musée de Cluny. Here's another organist found there on a misericord carving. Having fun with other vintage hardware at CCMIX, pursuing early music (in electronic music terms) with instruments such as Xenakis' UPIC and GENDYN.

Clarity are launching their new CD, second door on the left (Move MCD 340) at various Australian locations, starting on Sunday 22 July at 3pm in the foyer of the National Library of Australia. The CD includes my clarinet quartet Starling, written for the ensemble; and it features works by fellow Canberra composers Sandy France and Ruth Lee Martin.

The Blue Bear recently recorded the voices of Faith Bandler, Evelyn Scott and Sir Laurence Street for a sound installation and sculptural work in Reconciliation Place, Canberra, to be opened shortly.

And at Dartington Hall in Devon on August 1st, Lowri Blake plays two of my pieces for voice, cello and electronics: RockFace and Verklärter Bungalow. The programme includes works by Domenico Gabrielli, John Keane, Peter Sculthorpe and Judith Weir.

The Pocket Score Company gave its debut concert on May 20th: its success encouraged us to plan an Advent-flavoured programme for early December, featuring Spanish music of the Renaissance. There's the inevitable PSCspace, where lots of intense chaps in big hats seem to have taken us to their hearts.

The recent Luminous show in Hobart went beautifully thanks to our hosts Constantine and Marianne of Ihos Opera, who gave us a great welcome. The Peacock Theatre in Salamanca is one of my favourite venues so far: the backdrop is a rockface, and it feels like playing in a well-appointed cave. On the right is Helen Rivero halfway up the wall.

Helen's new CD Yes Capitan is out now: to find out more, visit Helen's pages.

Blue Bear Studio has been busy with a variety of projects: Dianne Fogwell and I produced the audio guide for the Edition + Artist Book Studio exhibition at the State Library of Victoria, which features Kern: music written for the opening of Dianne's Resonance show.

The Bear also recorded Judith Crispin's music for the short film Canvas, by Bobby Farquhar. It's been doing well at the festivals.

My clarinet quartet Starling is out on the new Clarity CD, second door on the left
(Move MCD 340).

I'll be in Europe in July and August, working on new electronic music in Paris and a project with Serbian singer Svetlana Spajic, Andrew Cronshaw, duduk player Tigran Aleksanyan and soundman Jamie Orchard-Lisle. In Walthamstow...

There will be a CD centred on Svetlana's remarkable singing and research into traditional music from Dalmatia, and we'll be touring in Europe next year.


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I've been knitting MySpaces recently: in addition to mine own, which has been lurking in the Links for a while, there are now presences for Helen Rivero and Ian Blake, Cassidy's Ceili and, swimming into view here, Jenny  Gall.

I'm working on one for Blue Bear Studio, but just need to sort out a few details with Ted Ibert, the manager, who is small and grumpy, and combines obstinacy with his inherent pragmatism, as you might divine from his photo. Sometimes he just gives me the old thousand mile stare, as if he were some sort of stuffed toy. We need to work on our relationship.

And, talking of newish web presences, you could take a look at my Australian Music Centre bio, where I attempt to come across as a serious composer...

Helen Rivero, Peter Kennard and I have just done a concert in Bendigo, Vic., showcasing new songs from Helen's forthcoming CD Yes Capitan, plus material from Luminous and Helen's trademark Sephardic song. Thanks to Musica Viva and Judy McDonald for a great gig at the Capital: a fine venue.

I've joined a choir. A very small one: The Pocket Score Company.
We have a concert coming up in Canberra on May 20th at 3pm. All Saints' Church, Cowper Street, Ainslie, ACT. The well-balanced programme features a Byrd Mass, various motets and an inspiring piece from Jannequin about trying to engage in sex with a pig tied to one leg... I think. Must check the translation.

And if you're in Canberra this weekend check out Cassidy's Ceili: darlings of the West Belconnen smart set, and a band so gratuitously Celtic it'll turn yer ears green. Playing at King O'Malleys on Friday 16th at 5pm: that's the pub with the 'E-Z Kiss'™ version of the Blarney Stone amongst other essential bits of theme pub paraphernalia. You know the sort of thing: stuffed and mounted musical instruments, toilets gendered in Irish, genuine fully imported barstaff. Thus Cassidy's Ceili bids farewell to the working week, for those who still have one...

Round about 7pm, another local combo, Franklin B. Paverty, will be hopping onto the weekend's merry-go-raum of Celtic excess just round the corner in Garema Place. So if you stand in the right spot, you'll experience an intriguing collage effect. We'll see if we can do a synchronised 'Whack fol the daddy-o' . Combined with the slapback off the buildings, this should make for a grand bit of psychogoidelic sound art: I recall this sort of thing at the Leeds Folk Festival of 1983, when folk-rockers Eavesdropper were unkachunking vigorously on stage, and the inevitable shanty singers were at the bar in a related key giving it 'Way-hey, roll and go' and you could shuffle up and down the venue enjoying the polyrhythms and doing your own head-related mix. Daddy-o.

Moving right along now to Saturday 17th: Cassidy's Ceili and scores of pilgrims will be converging on the Irish Club (now a snake-free venue) at 8pm to celebrate that famous Welsh saint.
There's no charge; in fact, several sins may well be remitted.

'Yea, the Band we seek is at Weston Creek'...

That's Parkinson Street, Weston.

First rehearsal this weekend for the dancers of Quantum Leap, directed by Vivienne Rogis, working on a piece for the Folk Fellowship concert at the National Folk Festival on April 8th. I'm basing the music on kids' rhymes and games taken from recordings in the National Library, and I'm presently working on two other new pieces for the concert. One of these, Lucciola, will be in the programme of Postgraduate Composers' Stuff to be performed at the ANU School of Music on Wednesday March 21st in Rehearsal Room 3 at 7.30pm.

And on May 15th at the ANU School of Art Gallery, the exhibition Water, Water opens: my sound work A Drop and an Ocean for two dinky wee ghettoblasters will be in the show.


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