Death to 230V


Lloyd Honeybrook

Feedback is the mechanism with which humanity makes sense of our environment. Mains hum is the sonification of our creative pinnacle and the destructive catalyst of our civilisation. Bring on the zero point energy.

�Lloyd Honeybrook is a sonic terrorist/part-time enfant terrible currently wreaking havoc in Melbourne Australia. A deep-seeded distaste for his instrument of choice, the saxophone, coupled with a steadily suffocating diet of death metal, late-period Miles Davis, noisecore and Alvin Lucier has led to the development of the feedbax, a device intended to shred the internal space of the woodwind beast and audience’s earholes alike. His favourite co-conspirators include Sean Baxter, Brendan Walls, Martin Ng, Oren Ambarchi, Robbie Avenaim, John Wiese, Marco Fusinato and Robin Fox, but his best friends are Density, Heterodyning, Autoschediasm, Verbosity and Brutality. He currently curates the Make It Up Club.

Shortlist history




07 August at 10:01PM


One should represent de-tuned, off-track sounds that are between the regular tracks of music. The act of tuning to this or that, making a decision around what to listen to, because of this mood, or that ideology, is fraught with limitations and lacking in unknown. The unknown should be represented in an unknowable way.

The 'field' as such is represented in this humming, carving piece.

Jules Dazzle

08 August at 12:01PM

For me, there is a revelatory aspect to feedback that hints at many human disicplines - a sonic reflection of consciousness's self-awareness. There is also ravishing beauty. This piece has all these in abundance - go for it, Lloyd!

Thea Baumann

18 September at 11:28PM

Tectonic plates colliding with each other in the formation of a metallic planet .


03 October at 02:01AM

it fucking hurts but it changes you. space particles collide

Shane Jesse Christmass

12 November at 03:47PM


Brilliant - this is outer space - wimpering to its death....

Todd Anderson-Kunert

12 November at 05:17PM


Feedback encompasses a physicality that when heard at the right volume (generally Lloyd's volume, an almost mathematical measurement) will have both an audible and tactile sensation. Feedback, temporally speaking, is an accumulation of time. With this in mind, Lloyd's composition is a prime example of a piece that reconstructs time and space for the listener.

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