UNBECOMING
Welcome to your post-death afterglow. Due to the nature of your death you are permitted one haunting within the limited time period of your unbecoming, the duration of which is unknown.

Ado wakes up dead. And rotting. Pretty soon she can walk through walls, read people’s minds, and travel through time, and she is fucking killing it. Now that she’s dead and free of all the expectations everyone has of teenage girls she can finally do what she wants. Except… all she wants now is to solve the mystery of her own death. As a ghostly dead girl in the process of her unbecoming, Ado doesn’t have long before she will be gone completely: how will she choose to use her last chance to interact with humanity, her one-time-only haunting?

Unbecoming is a one-woman play about our obsession with the “dead girl” and what it means for that girl when she actually ends up dead. According to Edgar Allan Poe “the death of a beautiful woman is, unquestionably, the most poetical topic in the world,” but this time the dead girl finally speaks for herself.

HAPPY AXE
Happy Axe is multi-instrumentalist and musical polymath Emma Kelly.

Inspired equally by the organic sonic landscapes of artists like Björk and Kaitlyn Aurelia Smith, and the brooding string-laden film scores of David Lynch and Hollywood noir, Happy Axe weaves layers of vocals, violin and musical saw into a vibrant fever dream of ambient pop music.

Listening to Happy Axe is a hypnotic experience. Deft melodies and atmospheric loops cascade and fold themselves around you. Entrancing patterns form and then dissolve.

APHIR
Aphir is the solo electronic project of songwriter/producer/engineer, Becki Whitton.

As Aphir, Becki has performed her vocally-driven electronic pop locally and internationally, including performances in England, Austria, and at Berlin’s 2016 Music Tech Fest.

Her 2017 LP, Twin Earth, saw her heralded as one of ‘Australia’s new wave of female electronic innovators’ by Double J’s Tim Shiel, and she has since supported much-loved Australian artists such as Kllo, Japanese Wallpaper, and Banoffee, as well as receiving an Australian Women In Music Award nomination for studio engineering in 2018.