Prudence Rees-Lee

THRESHOLD: Multi-channel spatial audio works by Simon J Karis, Prudence Ress-Lee & Eamon Sprod. With speaker array consultation by Byron Scullin, presented by Nice Music Label. Get tickets at link in bio. - A wall with sound on both sides. Threshold features a custom speaker array threaded through multiple connected spaces. Sound doesn't respect walls, it is porous, it drifts where it shouldn’t, it arrives from the wrong direction. It surprises and delights. It creeps you out. We are often cocooned by sound, but it’s the sounds that we can hear that are just out of reach, the bleed between the chambers, that reminds us that the world is larger and stranger than we thought. Presented by Nice Music with support from Byron Scullin, Threshold is a site-specific multichannel performance at Abbotsford Convent, a building that has held silence and noise in various ways for over a century. Featuring live performances by Simon J Karis, Prudence Rees-Lee and Eamon Sprod. When: June 20th, 2026 at 7pm Where: The Store, Abbortsford Convent This is a wheelchair accessible event. Free entry for first nations, please message us prior to the event for confirmation. #nicemusicnonstop Photography credits: Simon J Karis by Mark Panizza @tristecoeursolitaire Eamon Sprod by Eamon Sprod @sonic_rubbish

I will be giving a free talk next month to introduce the idea of Immanent Composition, a theoretical and practical framework emerging from feminist epistemologies of sound and spatial electronic practice. I’ll map the thinking behind an approach in which the composer works from within a system, entangled with automated and human processes, rather than standing above it. The presentation combines a discussion of technical routings and considerations, theoretical reflection, and live demonstration. Thursday May 14, 2026, 5:30 for 6pm Black Box Multichannel AV Space�Room 12.02.103�RMIT City Campus, Naarm/Melbourne FREE - Register through the link in my bio Listening Practice is a monthly gathering of listeners open to all, where sonic research and practice is shared in a dedicated listening environment, with informal discussion encouraged afterward. Organised by the DSP research group 📷 with assistance from @anisynth and @grant.wyeth

✨ Radical Synthesis is one week away ✨ Looking forward to opening for @___assembly___ and @nuuuuuuuuuuu__ @eastmint They both do fancy things with computers and code, so I’ll decided to incorporate @laurie.spiegel ‘s Music Mouse into my set. Music Mouse is a program she wrote in the mid 80s, a tool for generative composition 🐭 Electronic Music is folk music 🎶 Tickets at the link in my bio

Radical Synthesis | Nū | Assembly | Prudence Rees-Lee presented by Eastmint x Liquid Architecture ////////////////////// 7pm Doors 7:30pm @prudence_reeslee 8:30pm @___assembly___ 9:30pm @nuuuuuuuuuuu__ ////////////////////// $5 Vegan Laksa / Bar / Card and Cash accepted /////////////////////// pay what you can afford sliding scale tix $10-$60 Free First Nations tix Free companion tix Tickets via humanitix link in bio ////////////////////// For a three-act lineup, we suggest $25, but no one is turned away for lack of funds. Tickets are available on a sliding scale from $10–$60. ///////////////////// Radical Synthesis situates the creative practices of three Narm-based synthesists – Nū, Assembly, and Prudence Rees-Lee – together, at Eastmint.   The three performances of synthesis showcased will seize the material parameters of the music performance ritual in different ways to judo-flip what emerges from it in the direction of various forms of emancipation. Such practices understand music performance rituals as having an important role to play in the processes of identification, indexation, and inference involved in the reification of collective subjectivities. Presented by @liquid_architecture + @eastmint //////////////////// ACCESSIBILITY  Eastmint is accessible via wheelchair through the non main entrance, there is a small sliding door frame that we can place a ramp over the top of. Please get in touch if you require this option via email [email protected]. Closest accessible toilets located at the Peacock Hotel 150m away. Please contact if you require any other info. > This event will be held on the stolen lands of the Wurundjeri People of the Kulin Nation. We pay our respects to Elders past present and emerging. Sovereignty was never ceded. ALWAYS WAS, ALWAYS WILL BE < //////////////////////

In November last year I was lucky to premier a new octophonic composition thanks to the @mess_ltd Sonorous series 🙏🏼 ✨✨✨✨ I’ll be expanding the work in both time and space, for a longer performance on March 14, through a 24 channel system at @myceliumstudios This next iteration will be spatialized in collaboration with @sialsoundstudios (thanks to especially to @fleet_vocals and @nikstainvs10000flies who have assembled and worked the system!) using Spat, the software developed by @ircam_paris I’m very grateful to have the opportunity to go deeper into this world with this piece, brining the sequences developed for Sonorous into a wider electronic symphonic tone poem that traces the emergence of ‘the new’ from its origins in the not yet conscious. Tickets at the link in bio 🔗 📷 by @keelanohehir

Would you like to join my casual reading and listening group? I’ll select one reading and one piece to listen to each month, starting in March. All welcome. Slide into my DMs if this sounds like something that would be interesting to you🌀🦭🪺

Just returned from a whirlwind trip to North Carolina to attend the Society for Utopian Studies’ 50th anniversary conference, where I gave a paper on Daphne Oram’s utopian vision for sound 🌊 It felt special to be sharing her story and writing with a room of people who were unfamiliar with her, and also to hear from people deeply invested in the project of ‘utopia’ even as they live in an increasingly dystopian place. Despite everything (including a lot of anxiety on my part about traveling in and out) it felt really good to be back there. There are so many wonderful people, and the country is beautiful, which is easy to forget when you just get the headlines.

I’ve been lucky enough to be spending time at @mess_ltd for the last few weeks working on a piece for their octophonic series Sonorous. My piece is sounds a bit like Tomita, Laurie Spiegel and Terry Reiley all put together, and uses some super rare instruments that I’ve never heard played live before, like the Triadex Muse, a sequencer prototype (and light box!) from 1970. Sonorous is on Nov 20, at the Melbourne Recital Center. It’s my favorite concert series in Naarm and I’m so grateful and thrilled to be playing! Limited spots, I’d recommend booking if you’d like to come. It’s also a killer lineup with @r_rebeiro playing as well 💙

🎞️ 35mm European 2025 tour photo dump, landscape edition

Popular Music performs for the last time this year, to celebrate @itrecordsmelb ’s elegant 11th anniversary @thornburybowls . This Saturday. All of your crushes will be there. Don’t be weird about it. 📸: @painted.sun.in.abstract

I’m delighted to have contributed sound design alongside @sooji06 @_matwatson_ and @narethawilliamsmusic for the @library_vic exhibition Creative Acts, which is running until May 2026. My piece is called The Hidden Reverse, and the exhibition looks at the idea of creative process, from occult techniques, tarot, automatic drawing and spiritualism to the way artists connect with animals, myths and archetypes. Thank you so much to @byrsoncullin for creating the opportunity and so expertly dealing with all the technical aspects. ~~~~~~~~~~~~ The Hidden Reverse is a spatial sound work created for Creative Acts at the State Library of Victoria. The idea of the reverse is recurrent in spiritual and creative practices. In occult lineages and chaos magic, reversal is a working, a way to unfasten habit: mirror-gazing, writing backwards, walking widdershins, turning the spell inside out. In apophatic traditions and alchemy, the reverse becomes a path of unsaying, a refusal of surface that opens deeper attention. All sounds were recorded to cassette tape so I could turn them over, rewind, and listen back. Tape’s grain allowed me to stretch, smear, and reverse material until it revealed its seam. I built the textures with resonant sweeps and filters that draw hidden harmonics into audibility. When harmonics emerge, they remind me that perception is only a thin slice of an infinite field. The work is mixed for multichannel diffusion. Spatial shifts are subtle but constant. Rather than leap or startle, the sound holds you, rearranging the room by degrees, inviting attention to what moves at the edge of hearing. Built primarily around 4 asynchronous loops, harmonic beds unfold and recede; threads surface, then return below, as if memory were sounding itself out. In a library shaped by collective memory, I wanted listening to be both inward and shared. The Hidden Reverse offers a room within a room, a sanctuary for the moment before naming, when imagination first takes shape, guiding what is hidden toward the surface and letting it linger.

✨💙🌀 New era ✨💙🌀 📷 by @michelleghunder