CAxRA is an electronic composer and audiovisual artist based in Eora Sydney, working at the intersection of sound, voice, and generative systems. Her work unfolds as a sonic narrative, weaving synthetic textures, processed vocals, and evolving structures into visceral experiences of movement and time.

Her project Inversion / Refract is an immersive listening environment that traces patterns of human development through biological and natural systems, balancing organic materiality with a deep fascination for electronic hardware. CAxRA’s music feels alive, unstable, and deeply physical.

In September, she released Eternal, a conceptual EP exploring love and uncertainty within illness, hospitalisation, and solitude. A haunting, intimate body of work.

Mia Kanda-Franklin is an experimental sound artist based on Gadigal land. Evolving from a background of lifelong classical musical training, she has since turned her attention to the unwanted and unexpected sounds of experimental and electronic music. 

For Children of the Resistors, Mia will present LIGHT//SOUND, a performance work that exhibits light and sound as a singular, homogenous force. This work explores the relationship between this force and our senses of sight and hearing as light is transformed to sound through the performer’s movement, dictating the sonic and visual experience.

Harry Klein searches for beauty in the bittersweet, with a focus on the synergy between sound and image. The Eora/Sydney multidisciplinary artist combines music production with his visual artistry to create immersive left of field, audio/visual performances. A post-genre blend of colour, texture and experimental narrative which traverses through a wide range of electronic styles.

For Children of the Resistors, Harry Klein presents narrative-driven works with custom visuals synced to ambient, jazz-inspired, dance-adjacent beats. Joined by guest players @samthompson_ on trumpet and @tom.levings on keys/synth, he builds dystopian atmospheres that pull listeners out of reality and into dark, cinematic worlds of tension and unease.

Featuring Sweet Boy Sonnet, Harriet Bennett & Makenzie Allen

Selkie and the Sinewaves are an electronic post-punk three piece from the murky depths of the enigmatic ocean. The three, part fish, part human musicians draw inspiration from trance edm, 80s punk and 60s aesthetics to bring to you ‘Amphibious EDM music’. They sound like the B-52s, Floating Points, New Order, The Human League and Oneohtrix Point Never.

As for the origin of these creatures, they were created by the devious Dr Flounderstappen in his seaweed laden underwater scientific lab. After an experiment gone terribly right for once, he has cursed them to be part fish, part human forever. A Siren confined to a bathtub and her two monstrous sea creature sisters, make the most of their situation through their hypnotic siren song. Their fat bass lines and acid arpeggiators will leave you shipwrecked and beaten on the dance floor forever.

Riki Wells on kit, Lewis Mosley on guitar, Cara Christie on bass, with a special guest on Super 6 synths, join forces for a period-accurate performance of Pink Floyd’s Interstellar Overdrive.

A seminal 1967 psychedelic instrumental, this analogue-driven tour de force helped define space rock. Free-form, effects-heavy, and joyfully unhinged. Rock at its most impure.

Curated as an extended psychedelic improvisation. Weird is encouraged, from the audience and musicians.

Led by Hirofumi Uchino (Defektro), alongside Riki Wells and Aidan Eccleshall, this project imagines a future as it might have been envisioned decades ago. A speculative research presentation in sound.

Using early electronic instruments including theremin, vacuum tube oscillators, and synthesizers from the early 1970s, the trio combine analogue electronics with resonant metal sheets as both sound source and reverberation system.

Hirofumi Uchino is an Australian-based Japanese artist with a 30-year practice spanning noise performance, sound objects, and installations. His work is defined by raw machine energy, junk metal textures, and a relentless curiosity for sonic materiality.

Formed in Sydney/Eora in 2025, Arketek is a live electronic duo crafting minimal, grainy soundscapes from hardware alone. Blending deconstructed krautrock, cold wave, dub and industrial textures with heavy, trance-inflected grooves, they bend techno into decayed, slow-burning forms; built as much for deep listening as for the shadows of the dance floor.

Their live shows favour improvisation and a deep, physical low-end, unfolding on machines rather than laptops. The result is a sound that feels both grounded and hallucinatory, glitching between submerged rhythm and mechanical euphoria.

This is music as architecture: brutal, abstract, and built to endure.

Creators / performers: Jocelyn Ho, Bella Rahme, Rebecca Lloyd-Jones, Margaret Schedel, Sofy Yuditskaya
Instrument makers: Margaret Schedel, Sofy Yuditskaya

A feminist activist initiative, Women’s Labor repurposes domestic tools to become new musical instruments.

Using embedded technologies, these domestic-tools-turned instruments are explored in interactive installations, commissioned compositions, and performances. Traditionally relegated to the private sphere, we interrogate domesticity through public engagement and performative spectacle.

We will be making noises and sounds of feminist resistance and solidarity with three digital musical instruments—Embedded Iron, Rheostat Rotary Rack, and Embroidery Hoop—alongside various sound objects, in public, communal music making.

Niamh is an artist who explores themes of the interactions between people, technology and the environment through interactive sound pieces and video works.

She works as a conservation ecologist and citizen scientist, protecting and restoring native ecosystems in Wurundjeri Woi Wurrung, Bunurong and Wadawurrung country.  

The performance Electric Blanket Dreams is a reflection on the intimacy of personal technology. Niamh's beloved electric blanket, a source of warmth and comfort, comes alive with dynamic drone synths that respond to temperature and movement.

Commissioned by BackStage Music for Children of the Resistors, this marks the first collaboration between visual musician Tim Gruchy and cellist Freya Schack-Arnott. Bringing together two deeply exploratory practices, the work is an improvised dialogue with live music, aural beds and responsive visual systems.

Freya Schack-Arnott is known for her expansive approach to the cello and nyckelharpa, moving fluidly between contemporary classical music, experimental improvisation, electronics, and folk traditions. Her playing is physical, searching, and highly sensitive to texture and space.

Tim Gruchy brings decades of international experience in interactive multimedia, creating immersive environments where sound and image evolve together in real time. Using live-controlled audio visual systems and performative interfaces, Gruchy responds directly to Freya’s sound, shaping a shared audiovisual language.

Together, they create an organic, emotionally driven work that blurs composition, improvisation, and live audio visual performance.

BATTERIE is the brainchild of Jared Underwood; award winning musician, composer, percussionist, experimentalist and graduate of the Sydney Conservatorium of Music and AFTRS (Australian Film Radio and Television School).

BATTERIE combines improvised live drums, synthesisers, sampling, live looping, and electronics in a unique live solo show that pushes the boundaries of what a solo performer can do.

BATTERIE performs instrumental electronica inspired by IDM, electro, chip tune, breakbit, experimental rock and post rave music genres.