Sound Sauna

Aarti Jadu is a musician and sound artist who works thoughtfully across disciplines. Her skillful experimentation with voice, performance, and design reveals an affinity for the tradition of devotional singing and ensemble music. Jadu’s sonic palette is characterised by trance-like repetitions, confounding songwriting, the use of noise and dark imagery, urban music influences, contemporary digital choral elements, auto-tuned vocals, and synths.


TRACK – Cross the Wide
Artists: Aarti Jadu ft. Khyaal Vocal Ensemble
Producer: Aarti Jadu
Mix engineer: Guy Louis Faletolou

Alice Humphries and Daniel Thorne create music that dissolves the boundaries between genres, moving fluidly through contemporary classical, jazz and experimental sound worlds. Having studied Jazz together early in their careers, they reconnect now to collaborate on a new work for Sound Sauna. Drawing on their shared love of texture, improvisation, and immersive sonic environments, their piece weaves acoustic and electronic elements into shifting, hypnotic landscapes. Together, they craft music that is both intimate and expansive, inviting listeners into a space of intensity, stillness, and discovery.

Alice Humphries moves fluidly between contemporary classical, jazz, and experimental worlds. Her music, praised as “deeply thought-provoking…offering both moments of incredible intensity and sublime serenity,” ranges from electro-acoustic and chamber works to orchestral scores and cross-disciplinary projects.

Daniel Thorne is a composer fascinated by the possibilities that exist between the notions of acoustic and electronic, and composition and improvisation. This blurring of lines is at the heart of his music, creating a unique sonic world that obscures and detaches his instruments’ sounds from their typical associations. His music is released on the acclaimed contemporary label, Erased Tapes.

TRACK – Fluvial Time submerges listeners in a drowned river landscape, where rising waters and shifting topographies evoke a fluid sense of time stretching behind, and before us.

Tahlia Palmer is an artist and musician of Yuwaalaraay/Gamilaraay descent, born and raised on Whudjuk Boodjar, living on Wurundjeri Biik. She releases music under the pseudonym “Amby Downs”, named after one of the agricultural stations her Murri ancestors worked in servitude on. Palmer’s creative practice critically engages with history, politics, and environmental issues to advocate for Sovereign Indigenous perspectives.

TRACK – gudhuwa-y (burnt with pain) is an ambient composition built from field recordings and radio samples, created in response to the Australian bushfire season of 2019/20.

Aviva Endean is a clarinettist, composer, and performance-maker dedicated to connecting people with each other and their environment through attentive listening. Her creative practice opens up possibilities for collaborations, transcending the traditional in favour of a dynamic artistry which embraces the unfamiliar. Aviva’s solo music has been released on Room40 (Lawrence English) and SOFA music (Norway), and she has toured her work to major festivals internationally. She has worked in close collaboration with organisations including Chunky Move, Australian Art Orchestra, Chamber Made, and Liquid Architecture and is an ongoing member of Hand to Earth, The Cloud Maker, and Driftwood.

TRACK – Same River Twice, inspired by reflections on water, is a trance-like clarinet piece, rhythmic patterns transforming and distorting, harmonics and arpeggios glimmering, sliding into a submerged vocals of the next track, What Calls In The Quiet.

Azimah Fada weaves together R&B, jazz, and alternative sounds with traditional Makassan instruments, creating music that carries her cultural heritage into new, resonant forms.

Arif Rahman breathes new life into sinrilik, the endangered oral storytelling art of South Sulawesi, preserving its spirit while reimagining it through contemporary collaborations.

Ray Lewis Pasaribu moves between tradition and modernity, producing and performing music that blends ethnic sounds with today’s styles, while reawakening the timeless charm of 1950s Indonesian pop with his band Deredia.

TRACK – ‘Saleori’ is a spiritual lullaby from Makassar, created in remembrance of the eleven lives lost during the August 2025 demonstrations, offering a sanctuary of mourning, honor, and compassion through poem and song.

At once grounded and futuristic, Tim looks to render his recent output through processes of degradation, implementing the disciplines of machine techno and the scuzzier elements of house music. His music currently spans Australian & German recording labels Good Company Records and R.A.N.D. Muzik

TRACK – The piece ‘Daisy with Aura’ is a reflection on spaces buoyant and suspended, an exercise in transfiguring the passage of time in a bound place.

FreoCast is a not-for-profit community radio station founded by Fremantle architect and long serving community radio broadcaster Nick Juniper.

Brutal Waves – an immersive set of dark, bass-heavy and experimental electronics – a sonic reflection of Bathers Beach, where moving tides and deep frequencies blur the line between land and sea.

Dovecote — a place of peace & love. Rest in eccentric and uplifting folkways in a place, a beautiful place where the sun kisses the sea, where the secrets of the shell whisper to you, as distant squalls become a gentle sea swell.

Currents – dive in for a deep, emotive electronic journey weaving melancholic textures and ambient warmth for introspective sound sauna immersion.

Ilona McGuire is a multidisciplinary artist of Noongar and Kungarakan lineage. She is deeply fascinated by the social impacts of the Australian colony on Indigenous peoples and whoever calls Australia home. To encourage understanding of the humanity of the dehumanised, Ilona observes our shared histories through the intergenerational stories of her family. In an attempt to recover, reenergise and reimagine conversation that might encourage some and inform others, whilst some will remain indifferent. Ilona continues to explore mixed-medium installation, ephemeral work, performance and social practice as reclamation of space and time for joy and celebration as resistance to colonial anguish.

TRACK – An excerpt from Moombaki – Derbal Nara, presented for the 2021 Fremantle Biennale.

jade//vision is a collective of Boorloo and Walyalup-based musicians, artists and DJs, developing community through collaborative live events and music curation that delivers on the promise of what jazz can be.

jade//vision hosts improvised live sessions at Patio Bar in Walyalup seasonally. Billed “jade//vision live”, the residency features some of Perth’s premier instrumentalists, vocalists and MCs including Marley Donnan-Cook, Josh Chan (Demon Days), POW! Negro! (Superego, People Taking Pictures), Cruz Patterson, Sasha Britto (Butter), Isla Imogen, & Mali Jo$e. Building on modern jazz teachings, hip-hop feelings and soulful leanings, jade//vision live offers something unique and unexpected every time.

SOLO SESSION – A blissful ambient jazz mix in the sound sauna from jade//vision organiser, Tash Thomas. Drifting through meditative electronic textures, dreamy pastoral music and evocative post jazz moments that will transport you somewhere warm and cosy.

Jennifer Kornberger is a poet, artist, writer and director based in Walyalup/Fremantle. She employs poetry in installations and public artworks, and is the author of two full-length collections of poetry, I could be rain (Sunline Press 2007), and The Twilight Observatory (5 Islands Press 2025). Jennifer’s long-form poetry has been commended in the Newcastle Poetry Prize, and in 2016 she won the national Tom Collins Poetry Prize.

TRACK – This is a love poem, not to a person, but to a particular place. Its name means, ‘the place of the lung’, which is why it is able to teach us how to breathe.

Fremantle favourite Ningaloo Records presents a special 1-night only live set.

JWPATON is a Yuin composer living and working on the unceded lands of the Darug Nation (Sydney, Australia). Using electronics and field recordings Josh explores the contrast between abstract ambience and harsh textures. Carving and smearing analog and digital material to build sound worlds examining the ouroboroi of nature and technology.

TRACK – Blurred, phasing loops of distorted synths nestled within a field recording.

Kumo-Bako represents the multidisciplinary art practice of Ken Meyer, based out of Walyalup (Fremantle), Western Australia. Kumo’s sound palette draws from other-worldly organic textures and flows between hypnotic rhythms and lush ambient soundscapes.

TRACK – ‘An easterly breeze’ is an improvisational track built entirely from a RAV Vast steel tongue drum featuring layers of percussive hits that meld with the naturally deep, rich and resonant sound of the drum to create a meditative atmosphere.

Lakshmi R. Kanchi is an emerging Indian–Australian poet on a mission—to make poetry accessible. Lakshmi’s poetry explores love and its tumultuousness, fantasy and zest in nature, and allegories that provoke thought and evoke tender feelings. Her writing anatomises the complex links between language, culture, history and perception.

Rachel Hull is both a storyteller through singer/songwriter and folk music, and experimental or improvised music together with poetry to create emotive soundscapes.

TRACK – Wayfinding is a four-part poem that moves through water, place, and memory to explore inheritance and belonging. In collaboration with multidisciplinary artist Rachel Hull, the poem is interwoven with textured soundscapes drawn from water, sand, everyday life, and generated intensities.

Lawrence English is an artist composer and curator based in Australia. Working across an array of aesthetic investigations English’s work explores the politics of perception and prompts questions of field agency and memory. English utilises a variety of approaches including visceral live performance and site-specific installation to create work that invites audiences to consider their relationship to listening place and embodiment.

Over the past decade he has worked with sound as a medium for embodied experience and is determined to share his interests in the transformative and sensorial transgressive possibilities of sound. He is a Sidney Myer Creative fellow was awarded an outstanding doctorial thesis award in conjunction with his PhD in 2017 and has been supported by the Mike Kelley Foundation for his public artwork project in Los Angeles Seirá. In 2022 he has been appointed the Annual Honouree by the Institute Of Modern Art.

TRACK – Infinity Mirror – For us as listeners, sound exists as an ever-evolving horizon of audition, carried in the air; arriving and fading away, moment to moment. Once internalised though, reduced from the purely sensorial into affect, its plain of immanence can be eternal. Should we want it to be.

Sonnenmasse (Leon Ewing) is the ongoing project of solo bassist and vocalist, Leon Ewing. Since 2015, he has produced a series of site specific experiential works, often working to and against the resonant frequencies of architecture and built environments.

Using sound to play with both scale and intimacy, the project grew out of ‘Raised by Brutalism’, a one-on-one performance for the Proximity Festival at AGWA, and lead to winning the Spirit of Fringe Award, with Intra Harena, a stadium show for two people at the Perth Arena.

LIVE SET – Leon will be sculpting a live set of dark ambient, doomgaze and dub heavy trip-hop. Using drone synthesisers overlaid with slowly pulsing waves of bass guitar and voice, it will be sublime and visceral experience of vibration on and in the body.

Lia T is an electronic musician and sound artist living in Boorloo/Perth, Western Australia. Her solo work and collaborative pieces can be found on a range of labels such as Felt, Theory Therapy, Companion, Music Company and others. She finds encouragement from exploring the link between sound studies, memory, affect and listening as a relational practice.

TRACK – short passages using digital synthesis and modulation. These arrive and pass with space in between, a conversation with a window.

Mei Saraswati’s interest in recording began when she was 5 years old, with a red tape recorder and microphone – a present from her mother. She’d record sounds of her baby brother crying, test out swear words and made-up songs. Her Aunty from NZ visited one year with Deep Forest’s 1993 album and this led to numerous dance recitals at the top of the front steps to the whole cul de sac. Her mother listened to relaxation nature tapes and played fingerpicking folk guitar; her father listened to Marvin Gaye and belted ‘I Did it My Way’ on karaoke machines. Mei paid attention to all of it, as kids do. Fast forward to high school, where she fell in love with beat making on an MPC, in a studio of stolen equipment courtesy of her kleptomaniac boyfriend at the time. Eventually Mei bought her own MPC500, and explored sound collaging. She experimented endlessly and released independently, letting songs free without much fanfare on SoundCloud and Bandcamp. She believed that holding onto music may block the energy of new music wanting to come through. Never one to pay much attention to adhering to a genre, only feelings, her songs almost always have a sense of yearning – for something, someone, a water body, a time, a place.

Nowadays, Mei Saraswati is a mum who works at a local history library. On-and-off again she’s a visual artist and singer / electronic composer. Her music tells otherworldly experiences of the everyday. They look through a spiritual lens at our environment and the emotional places we inhabit, acting like portals into her cultural past and future.

Mei has exhibited sound works at the Art Gallery of WA and Perth Institute of Contemporary Art and made work for Perth Festival and Counterflows Festival in Glasgow. She’s opened as support for the likes of Shabaka Hutchings (UK), Hiatus Kaiyote (Naarm) and ESG (US) and has also sung in a food court in Morley.

TRACK 1 – Mum & Bingara is an excerpt of an oral history interview with Mei’s mum, Margaret, about her childhood and what it was like growing up in Bingara, NSW. She speaks of exploring the bush and her town with freedom and in safety. The theme of Sanctuary resonates here, as sanctuaries can encapsulate a whole town and period of time. Margaret’s voice is accompanied by her finger picking guitar playing, which evokes the slow pace of the memories.

TRACK 2 – Mount Qingcheng, Wenshu & Home: This track is in three parts and features field recordings taken in 2018 by Mei when she visited China to meet her great uncle’s family. The first field recording is from Mount Qingcheng, a sacred Daoist mountain, and captures the bird life and the singing of an elderly caretaker. The second part features sounds of bells and chanting from Wenshu Monastry in Chengdu. The third section was made when Mei was recovering from an illness at home, and samples flutes and ocarinas, in celebration of breathing easy.

Ned Beckley is a Fremantle based composer and sound designer. With a strong focus on crafting scores that are highly individual and sonically immersive, Beckley has spent the last decade inhabiting a unique intersection between sound design and melody. Approaching scoring as a hybrid of music and sound often informs his uncommon style. He has a diverse body of work that spans electronic performance and recordings, soundtracks and sound design for film and TV, installation and various longform multimedia frameworks.

TRACK – “Pulsing electronic and acoustic tones drift and settle like heat, wrapping the listener in a meditative sonic bath, dissolving tension and guiding listeners into a higher state.”

Stuart Orchard is a West Australian composer-performer, sound designer and educator. His work with ambient piano soundscapes, aeolian music, self-made string instruments and adventurous rock music have seen him perform around the world, including at SoundOut Festival (Canberra), Tanzforum (Berlin), and the Walyalup Weekend of Improvised Music (Perth). His music has been used in the ABC TV production The Heights (2019); he has also been commissioned by Tone List (Audible Edge Festival, 2020) and by Joseph Simons’ for his solo choreographic work First Thing’s First, which toured in over 40 venues worldwide. He has worked, recorded and played with influential musicians across genres, including Mark Reeder, Jean Luc Guionnet, Jim Denley & Jodie Rottle. He is active playing in an array of bands and improvised collaborations across Perth.

Stuart is interested in immersive listening, and the connection of musicians and listeners to their environment through its natural forces & stories. He has a Bachelor of Music (First Class Honours) in music composition, where he focused on interactive aeolian instruments & sculptures. He has undertaken further intensive studies with Billy Martin (The New School, NYC) and Jim Denley (via Tone List), and also holds qualifications in writing & secondary education.

LIVE SET – Stuart will use his aeolian (wind-powered) instruments to create an improvised piece shaped by the environmental forces at Manjaree.