Program
Practical Mechanics (2013), Movement III: Hovercraft, Transport of the Future (arr. for string quartet and guitar) — Chris Perren
Untitled (2025) — Libby Myers
For Free (1970) (arr. for voice, strings and guitar) — Joni Mitchell
Ferryman (2021) — Flora Wong
Nonsemble
Nonsemble inhabit a space between contemporary classical and adventurous pop music, resulting in a diverse output that ranges from sprawling and evocative modern compositions to meticulously crafted chamber-pop. Since forming in 2012, they’ve released three critically acclaimed albums and two EPs, played alongside Sigur Ros and Beck at Harvest Festival, were invited to play and talk at TEDxBrisbane, and have toured across Australia, featuring performances at Tasmania’s MONA and Sydney’s City Recital Hall.
The ensemble consists of a string quartet variously joined by piano, drums, guitar, bass, and electronics. Their musical backgrounds are as varied as their output: classically trained instrumentalists, seasoned rock players, and electronic tinkerers, with musical interests that range from obscure electronica and instrumental math-rock to early baroque music. This unique setup and blend of infl uences provides for a wide palette of sounds. Olafur Arnalds-esque lushness meets Joanna Newsom jubilance, while the shimmering brightness of minimalist composers such as Steve Reich and John Adams rubs shoulders with the intensity of Godspeed You Black Emperor or Sigur Ros. Nonsemble have a penchant for the rhythmically complex and conceptually arcane, but theirs is a music where the heart always wins.
Over three albums and and two EPs, they’ve earned a reputation for meticulously unifi ed, yet viscerally compelling long-form work. Debut LP “Practical Mechanics”, released on lofl y records in 2012, distilled mid-century techno-optimism into a large-scale composition across 5 intricate movements. Their sophomore “Go Seigen vs. Fujisawa Kuranosuke” was released in 2015 on London label bigo & twigetti—a 30-minute work constructed from patterns of moves from a 1953 game of Go; the album was hailed as “a monumental contemporary classic” by CutCommon. 2016’s Spaceship Earth EP, also on bigo & twigetti, saw the group side-step into the pop-song format, with fi ve songs inspired by the failed modernism of the 20th century. Boasting guest vocals from prominent voices in Australia’s indie rock scene, the EP was described as “some of the most immediate and inviting indie-pop I’ve heard this year” by 4ZZZ’s Chris Cobcroft. 2017’s “CULTS”, had the band celebrate their most loved reworkings of Radiohead, Sufjan Stevens and more. Returning to original works, 2022’s “Archaeopteryx” saw the band exploring a new confi guration of string quartet and live electronics. A suite of evocative and cinematic works inspired by prehistoric birds, A Closer Listen described the work as “a jubilant explosion of sound”, while 4ZZZ’s Chris Cobcroft remarked “to listen to [the album] it’s impossible not to feel a stirring of inspiration, of awe”.
The group recently celebrated their tenth anniversary with a headline performance as part of Brisbane Powerhouse’s 2024 ΩHM Festival.
About 2025 Nickson Room Concert Series
The University of Queensland School of Music is proud to present our Nickson Room Concert Series for 2025. In reflecting the School's role in the broader South-East Queensland community, we have designed a diverse and exciting program. With established international and national artists performing, as well as our own emerging student artists, this year is set to be a vibrant, creative, and energetic time at the UQ School of Music. We look forward to connecting with you.