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Whether you are an avowed minimalist or a devil-may-care, cram-it-all-in maximalist, Limelight’s April edition will have something for you.

Whether you are an avowed minimalist or a devil-may-care, cram-it-all-in maximalist, Limelight’s April edition will have something for you.

Julian Day reports on the longest, and probably the loudest, noise set they have ever heard by experimental musician Marco Fusinato, who is representing Australia at the Venice Biennale.

Rewarding excellence across a range of musical genres and categories, the awards return with an in-person ceremony next month.

New podcast features musical mavericks in conversation.

November’s playlist us brings up to date with the slew of new releases (and digital re-releases) over the past couple of months. There’s an exciting range from contemporary classical, jazz and sound art from composers who have featured before and some new faces.

A community-driven work responding to the Barossa’s unusual history, and its hidden musical treasures, leads to Ntaria in Central Australia and Brandenburg in East Germany.

Julian Day reports from The Listening Academy, a symposium in Berlin where participants explored how listening can be a powerful social tool.

The selected composers have each received $1000 bursaries to realise their works as part of the 2020 Peggy Glanville-Hicks Address.

Pine Gap and Uluru clash in hands of young American.

Australian composer and artist Julian Day discusses his showcase for the Adelaide Biennial, an immersive work informed by the Barossa Valley’s Lutheran church organs.