Acid House are an experimental collective based in New Taipei City. Their work encompasses music, performances and experimental conversations within a communal setting.

Acid House

rather than being slowed down by your brain needing to figure out how to say the words first.

Andrew McLellan is a musician, artist and broadcaster. Andrew’s musical identities include the solo sample-based electronic sounds of Enderie, and the 4-piece post-punk act Cured Pink. Andrew has cut up language, conceptualised kinetic works and pumped big beats for Melbourne's Liquid Architecture, Belgium’s Kraak and Sound In Motion, the Sydney Opera House, VIVID Live, Underbelly Festival, St. Jerome's Laneway Festival, Next Wave Festival, and the Jogja National Museum. Releasing music across numerous labels and formats, Andrew performs extensively across the Australian underground music circuit while working in the community radio sector.

A sound designer, composer and audio engineer for various sound recordings and other artists, Andrew is credited to works that have appeared at the Art Gallery of New South Wales; Biennale of Sydney 2016; the National Gallery of Australia; Visual Museum (Kawaguchi); Campbelltown Arts Centre; Artspace; the Museum of Contemporary Art; and the Institute of Modern Art (Brisbane). Andrew has performed at London's Café Oto; Lisbon's Galeria Zed De Bois; Berlin's NK Projekt; Warsaw's Mozg; Melbourne Arts Centre; Metro Arts; Firstdraft Sydney; Serial Space; the NOWnow Festival; Vivid Live; Sound Summit and the Melbourne International Jazz Festival. Andrew currently lives and works in Sydney.

Andrew McLellan is a musician, artist and broadcaster. Andrew’s musical identities include the solo sample-based electronic sounds of Enderie, and the 4-piece post-punk act Cured Pink.

Andrew McLellan

ordinary digital interfaces and technological machines as materials to generate new experiences reinterpreted from the intended consumer use of the digitally banal

Jannah Quill is a Sydney and Melbourne based artist whose experimental approach to the uncasing of electrical processes manifests in installation, performance and recorded sound. 

In her live performances, she sculpts cracked everyday electronics into pulsating, beguiling and menacing fields of static and tone. Her approach to sound-making is heavily influenced by her interest in dance and club music apparatus and the ways in which this can blend with experimental, improvisatory and collaborative music.

Jannah’s music and art practice embraces ordinary digital interfaces and technological machines as materials to generate new experiences reinterpreted from the intended consumer use of the digitally banal. In her hands, solar panels generate audio signal from off-the-shelf lighting products; a laptop’s text-to-speech function becomes vocal samples on thumping techno driven tracks; and game development programs are used to create installations of deconstructed digital imagery.

Jannah Quill is a Sydney and Melbourne based artist whose experimental approach to the uncasing of electrical processes manifests in installation, performance and recorded sound.

Jannah Quill

desecrating the imaginary historical burden and false symbols of race and history

Known for her powerful, often provocative live performance work and experimental projects, **Betty Apple** is one of the leading lights of  from a younger generation of avant-garde artists in Taiwan. Born in 1986 in Chiayi, Taiwan, she received her B.A. in Theater and M.A. in New Media Art at the Taipei National University of the Arts. Her focus is on live art and sound art, while also engaging in video art, performance art, electronic music producing, DJing and art curation.

During her ten years of solid physical training and directing experiences in theater and film, Apple specialized in improvised, realistic performances. In recent years, she became an advocate of live art and created the Sound of Yin (陰性聲音) series, where she improvises music through a facilitated dialogue between body and object. The main idea in this project is to symbolize what is repressed by the seemingly ‘perfect’ or ‘accurate’ sounds of science and patriarchy working in concert.

Using body politics and performativity as her framework and drawing on her lived experience as a millennial living in post-colonial Taiwan, her work appropriates symbolic objects from kitsch culture and consumer society as sound elements – particularly mass-produced objects intended for eroticism or entertainment, such as vibrators, underwear and fluorescent paint, which are carried inside the body and expressed through violent and grotesque means. Through these performances, Apple’s aim is to study and deconstruct the chaotic and hysterical “noise text” that is created from input to output, distorted by dynamics introduced by humans as well as objects.


Known for her powerful, often provocative live performance work and experimental projects, Betty Apple is one of the leading lights of a younger generation of avant-garde artists in Taiwan.

Betty Apple

Gathering underground sound and trouble-makers 集結地下聲音與搗亂份子

A meeting of multiple minds, acts of communion, co-authored listening, and abandon.

Li(quid)stening
Architecture

大眾聲音民宅派對 Social Sound ACID House Party

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大眾聲音民宅派對 Social Sound ACID House Party

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