Cat Hope’s music is conceptually driven, using mostly graphic scores, acoustic /electronic combinations and new score reading technologies. It often features aleatoric elements, drone, noise, glissandi and an ongoing fascination with low frequency sound. Cat’s composed music ranges from works for laptop duet to orchestra, with a focus on chamber works, and she has been awarded a Churchill Fellowship to develop her work, as well as Civitella Ranieri (Italy) and Visby International Composers residency (Sweden) fellowships. Her practice has been discussed in books such as Sonic Writing (Magnusson, 2019), Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as Gramophone UK, The Wire, Limelight and Neu Zeitschrift Fur Musik Shaft. Her works have been recorded for Australian, German and Austrian national radio, and her work has been awarded a range of prizes including the APRA|AMC Award for Excellence in Experimental Music in 2011, 2014 and the Peggy Glanville Hicks residency. Her first opera, Speechless, was premiered at the Perth Festival earlier this year.
She has founded a number of groups, most recently Decibel new music ensemble, noise improv duos Candied Limbs, HzHzHz, Super Luminum as well as multi bass projects Abe Sada and Australian Bass Orchestra. She has also founded and written pop songs for Gata Negra (1999-2006) and has an active solo bass noise practice, which has seen her collaborate with KK Null, Whitehouse, Acid Mother Temple, Merzbow and many more. She maintains an active profile as a flute performer, recently premiering a new work written for her on alto flute by French composer Eliane Radigue (OCCAM XXVI, 2018).
