Lillian Albazi and James Sherlock are Naarm-based improvisers with distinguished careers spanning jazz, classical and experimental music. Internationally acclaimed vocalist‑composer Albazi and award‑winning guitarist Sherlock create music of striking intimacy, weaving jazz standards and original works into a rich, improvisational dialogue. Though the Sherlock Albazi collaboration is a relatively new project, the pair have already toured extensively performing at 03 Sessions and The Granity Theatre in Aotearoa as well as at leading jazz venues across Australia including The Citadel, Brisbane Jazz Club, Found Sound Improvisers Collective, Boroondara Arts, Devonport Jazz Festival and Jazz Music Institute alongside Ben Hanlon (Melbourne Symphony Orchestra), Holly Moore (Namboku Records/Australian Art Orchestra), Fran Swinn (Australian Art Orchestra), James Sandon (Queensland Conservatorium), Dave Sanders, Michael Story (Christchurch Symphony Orchestra) and Thierry Fossemalle.

Bright Phantoms is an experimental project by musician Lillian Albazi and 2025 APRA Performance of the Year: Jazz/Improvised Music winning double bassist Oscar Neyland. Taking fragments of post punk, folk, modern classical, noise music, found percussion, free improvisation and rock, Bright Phantoms weave narratives through double bass and voice. Layered echoes and tidal harmonies flow with dissonant extended techniques and abrasive textures. After creating an experimental recording of Rowland S. Howard’s “Autoluminescent” in 2019, the duo have been expanding, working a record covering a range of works brought to life by an expanded sound world built with Pat Telfer (Brian Brown Studios VCA) at the helm. The record will feature James Sherlock, Niran Dasika, Elliot Lamb and Natasha Fearnside, as well as found sound and analogue manipulations. They look forward to releasing this record at the end of 2026.

Great ~ Falls are a five-piece blending post-punk intensity, shoegaze textures and cinematic indie alternative into a sound that is both atmospheric and raw. Following the release of their debut EP "Negatives Into Positives" in 2023, the band earned praise for their expansive songwriting and immersive live performances, with reviewers on air and in print naming them as “one of the bands to watch". Their 2025 single, “Radioinactive,” has been heralded as a bold evolution in both sound and ambition. The band have received support from independent Australian media including Triple J, PBS, 3RRR, Happy Mag, Broken 8 Records and Market Records to name a few. With new material continuing to push them into a heavier and more experimental territory, Great Falls are emerging as one of Naarm's most compelling underground acts.

When not touring internationally across her various bands and ensemble projects, Lillian Albazi finds her greatest joy in travelling throughout Australia performing intimate solo shows built around her extensive catalogue of compositions, reinterpretations and unreleased original works. Moving between guitar, piano and mandolin, her solo performances offer a more personal and stripped-back insight into the songwriting and emotional depth that underpin her broader body of work. Drawing from years of composing across experimental, heavy, jazz and cinematic music landscapes, Albazi’s solo sets blend beloved covers with previously unheard original material that continues to evolve onstage. She is currently looking forward to recording and releasing a solo record featuring a collection of her long-awaited unrecorded compositions and works.

After being invited to contribute vocals on “Objects Without Pain” - the acclaimed 2023 release from Seattle noise-rock trio Great Falls (via the legendary Neurot Recordings), Lillian Albazi joined the band on their 2024 UK/European tour supporting Botch’s final world tour. Performing material from the album live at sold out venues including London’s Electric Ballroom, Bristol’s Marble Factory and Manchester’s New Century Hall, Albazi became part of a release that quickly established itself as one of the most celebrated heavy records of the year. Distributed internationally through major underground music networks including Deathwish and widely championed across streaming/Bandcamp communities, “Objects Without Pain” received extensive praise from publications including Decibel Magazine, Metal Hammer, Sputnikmusic, No Echo and Brooklyn Vegan, with critics describing the album as “magnificent,” “cathartic,” and “one of the most affecting statements on love-loss” in modern heavy music. The album appeared on numerous international year-end lists and developed a strong cult following within experimental metal, sludge and noise-rock circles, while Albazi’s haunting vocal contribution and live performances received international praise as they added another layer of vulnerability and cinematic intensity to a record already celebrated for pushing the boundaries of contemporary heavy music.

Lillian Albazi Quintet’s debut release "After-Image" established the Naarm/Melbourne ensemble as one of the most exciting emerging voices in contemporary Australian jazz. Released in 2021 following years of touring together around the country, the album earned widespread praise for its rich reinterpretations of jazz standards, blending modern improvisation with sombre romanticism, smart arrangements and high calibre performances. The release was championed by Australian music media including Beat Magazine, Sydney Arts Guide, Bent Notes, Australian Art Guide, while critics and collaborators praised Albazi’s “beautiful voice, excellent presence and commitment to her art.” Following its release, the quintet toured extensively across Australia with performances at MONA Museum, Bendigo Bank Theatre, Melbourne Recital Centre, Wollongong Town Hall, National Press Club, Jazzlab and major regional venues, building a strong reputation as ones to watch. "After-Image" continues to be recognised as a defining release in Albazi’s career, helping launch her national profile and establishing Lillian Albazi Quintet as a standout act within Australia’s contemporary jazz landscape.