ANGELLIS TALIUU- "Something while otherworldly in sound, inherently human"
ANGELLIS TALIUU- "Something while otherworldly in sound, inherently human"
AS PART OF:
BLACK PLANET
25TH JULY TWO VENUES THREE STAGES 21 BANDS
O come, creatures of the night!
Bear witness to BLACK PLANET: A Celebration of Australian Dark Music.
Descending for the first time as a full-spectrum gathering of darkness, Black Planet hosts 3 stages across two iconic venues: The Bendigo Hotel & Nighthawks. Built for devotees of sonic extremity and shadow culture, this inaugural edition transforms the night into a living cathedral of sound, atmosphere, and chaos.
The night will be separated into 3 spaces:
The Ossuary (Bendi Main Room) - A shrine to brutality and all things heavy
The Void (Bendi Upstairs) - A chamber devoted to noise, ambient, drone and experimental
The Black Hearts Lodge (Nighthawks) - A sanctuary of goth, darkwave, post-punk and nocturnal romance
Headlining Black Planet 2026 is THE AMENTA - One of metal's most uncategorizable acts, THE AMENTA have been synthesising the ugliest aspects of death, black, and noise into a unique maelstrom for over 25 years. Well-known across the world for their intense live shows, THE AMENTA combine speed, anger, and a weird sound with smoke and strobes to create a brutal, overwhelming experience.
Joining them across the 3 stages are: Mammon’s Throne, Hybrid Nightmares, Victoria K, Küntsquäd, Bentham’s Head, Knife, Npcede, Živa, Inaugural, Chiffon Magnifique, Blood In The Champagne, Dystropolis, Palliative, Blood of a Pomegranate, Military Position, Anocht, AnnaBortionist, Serene Ailment, Angellis Taliuu, and Koolooz.
The Void's billing — noise, ambient, drone, experimental — covers ground most festivals wouldn't touch, let alone give a dedicated room to. That's the real diversity claim in Black Planet's "celebration of Australian dark music" framing: it's not just heavy bands and gothic bands, it's work that operates entirely outside song structure, alongside work that's pure ritual and atmosphere. Twenty-one acts, and a genuine spread of what "extreme" can mean.
ARTIST: ANGELLIS TALIUU
Angellis Taliuu is a Melbourne sound artist working across ambient, noise, industrial and experimental territory, with a discography stretching back years and a parallel practice in immersive, multi-sensory performance — 2024's Tectonic, staged at Melbourne Fringe and later Adelaide Town Hall, paired dark ambient composition with reactive visuals and aromatherapy. That instinct toward full-sensory ritual rather than a straight "band on a stage" set-up makes Angellis Taliuu a fitting fit for a room explicitly billed as a chamber rather than a stage.
INTERVIEW:
1. The Void is framed as a chamber, not a stage — something more enclosed, more about atmosphere than spectacle. How do you think about the difference between playing to a room and playing inside one?
With drone, ambient and experimental music, it feels more experience-led rather than a performance. More installation than concert.
2. Noise/drone/ambient work often lives or dies on what it does to time — does it stretch, collapse, disappear? What's Angellis Taliuu doing to the room, ideally, forty minutes in?
The last two performance pieces were heavily focused on meditation and mindfulness as a driving concept. By 40 minutes in, we should be synchronised, mentally and physically.
3. Black Planet's being pitched as a "living cathedral of sound" — where does your most recent release, or whatever's next in the pipe, sit inside that? Anything dropping around the show we should know about first?
On the night, I'll be playing some excerpts from an upcoming release tentatively titled "The Alchemist" (To be performed in full somewhere northwest of Hobart in September). Some parts structured, some parts improvised. Is it a living cathedral of sound? Maybe. It certainly feels ceremonial, communal and cavernous.
4. This is billed as a celebration of Australian dark music specifically. What does that qualifier — Australian — actually mean to what Angellis Taliuu does, if anything? And why does this underground still matter to you, this far in?
It's a geotag. What did the modern philosopher James Hetfield say? Where I lay my head is home.
The underground music scene is a dark, meandering abyss of things you never thought you'd hear, things you'll never hear again, things you'll never want to hear again or even things that'll make you never hear the same again. It's epicureanism in sound.
5. Bendigo and Nighthawks are two venues, three rooms, one night. What are you actually trying to do to a room when you play it — what's the physical or psychic effect you're chasing?
Synchronicity.
6. Dark ambient/relaxing synth soundbaths and so much more...this is a very deep and integrative approach-how did this start and what drives this magnificent project?
I started playing around with ambient and noise around 2013-2014 after randomly grabbing a copy of Null Pointer by Host (ex-Amenta bassist). Previously I had made outsider music, industrial/electro/lofi and Dungeon Synth (on an old Casio keyboard no less). Null Pointer was a bit of a push, I think.
This project exists as a house for sonic exploration, so inspiration for it is driven by concepts rather than conventional songwriting structures. For example, Duotheism explored sound healing and solfreggio frequencies under the veil of two opposing deities, offering a sound bath in heaven and hell. Tectonic used monaural beats to stimulate brainwaves.
These days we have less and less purposeful listening to music. This is where experimental music shines. It's an experience between performer and listener. Something while otherworldly in sound, inherently human.
LINKS:
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SO GRAB A TICKET ASAP AND START WORKING OUT HOW YOU CAN SEE EVERY BAND...SOMEHOW
KILLER PRICES TO BE HONEST;
Both venues: $75+BF
The Bendigo Hotel Only: $45+BF
Nighthawks Only: $35+BF
ALL PICS ARE FROM THE ARTIST OR BAND'S SOCIAL MEDIA PAGES
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