Featured Event


Thursday, April 30 @ 7:00pm


75 on Reid
75 Reid St Fitzroy North



Has an Open Mic?


Following a successful crowdfunding campaign, poet and spoken word artist Joel McKerrow with his band The Mysterious Few invite people to the launch of their debut album, ‘Welcome Home.’


Listen to the latest issue of Audacious

Listen to the latest issue of Audacious, the audio-journal of Melbourne Spoken Word, a quarterly album of spoken word of the most bold and fresh voices in Melbourne.

Listen to Audacious .. ›
Event — Thursday, April 30 @ 7:00pm

House of Bricks featuring Jeltje, Sjaak de Jong, Lawrence Tobius Sampson Greene and Kim Jeffs

House of Bricks Gallery

House of Bricks Spoken Word happens monthly around the end of the month. It has been going since 2012 under the stewardship of House of Bricks gallery organiser Crib Millen and the MC of the poetry gig, Poetry Jockey Santo Cazzati. Santo is the only known poetry jockey in the cosmos (insert academic footnote for verification here by authority on cosmological poetry jockeys, Amanda Anastasi). A poetry jockey is like a disc jockey in a bar or night club. Santo controls the aural environment by selecting his four feature artists and ten open mic candidates in any order that he sees fit (insert acknowledgement here to Anthony O’Sullivan, from whom the idea was stolen to then be brilliantly modified by Santo). This creates a particular atmosphere, sometimes scintillating, sometimes profound, poets being listened to in pindropping silence, or being positively heckled during their performance. The emphasis is on the way poetry comes from the voice of the poet, wafts in the air, and gently caresses the listener.

Poets at HOBSW might be very performance oriented or very literary oriented, and the two seem to happily coinhabit the space. And the space is unique in the world as probably the only poetry gig with an open roll-a-door onto the world, allowing smokers to participate without causing passive smoking danger to other participants.

Comment — April 24

Making You Sound Delicious

By Mandy Petit

An open letter to those wishing to provide recorded work for Audacious

Dear eager and brave applicants,

My name is Armand (Mandy) and I’ve been doing this stuff for a while now. Both poetry and audio engineering. I haven’t been published as yet, nor have I won any awards for my writing, so I’m not here to tell you how to go about that side of the craft. I do however have a Diploma in Sound Production and have recorded, mixed and mastered a variety of audio work that encompasses podcasts, music, film & TV, and of course spoken word.

Some of you may have noticed that one of the most recent projects I was involved with happened to be the Melbourne Spoken Word audio compilation ‘Audacious – Issue 1’.

When it comes to us audio engineers, there is a common myth that we are magicians of sound and can make any piece sparkle. I wish I could say this was true, but even we and our (usually) trusty technology have our limitations. A number of you wishing to provide your work to MSW may be a little fresh to the process of recording. Firstly, it’s wonderful and exciting to see how many people out there want to give it a go. I say go for it, learn, embrace, conquer! However, do bear in mind, with the ease of access to in-built microphones on computers and devices, bargain bin recording home studios and free downloadable studio software – there comes the trade off of poor sound quality. Don’t let that turn you off, if you are on a stringent budget. There are a few diamonds in the rough to be found. I’ll get on to where to find them later.

Over the near 8 years that I’ve been involved in this, I have been provided a wealth of material. Some glorious snippets, some bat shit crazy stuff with talking dolls, deep creepy breathing and distorted glockenspiels played with drum sticks wrapped in condoms. And then there are those really taxing tracks containing all manner of: squelch, hiss, microphone feedback, jarring r

News — April 24

Submit to Audacious Issue Two

By Benjamin Solah

Following the successful release of our first issue of our ‘audio-journal’ spoken word album, Audacious, we have now opened submissions for the second issue of Audacious until midnight Monday, June 30. We are seeking submissions of audio recorded spoken word (in a .wav file) as well as submissions for photography or artwork for the front cover.

It is important to abide by the following guidelines when submitting and failure to do so, may result in us not considering your piece at all. It is also advised that you listen to the previous issue of Audacious and read two articles, one by myself, and one by Audacious’ sound engineer, Armand Petit on tips for good quality recording.

Submissions are made by the Submittable platform here. Artwork is submitted via a separate Submittable Page here. We do not accept submissions via email or other means.

Pieces for Audacious are selected from both commissioned artists or poets asked by the editor to record work as well as submissions for the open submission process. There is no guarantee on the amount of pieces selected from the open submission process. Audio recordings must be submitted in .wav or wave format. We do not accept .mp3 files. This is to maintain the quality of the audio for editing and publishing purposes. We accept work from not just Melbourne or Australia. Everyone is eligible to submit but we do have a bias toward work from inside of Melbourne or those who perform in the live poetry scene in Melbourne, both from open mic and feature poets. Only one submission per artist or poet. We are a group of volunteers and do not have time to listen to four or five submissions from one poet. Submit us your best poem. Poems must be no longer than 5 minutes. Artwork and photography submitted must be the sole property of the author submitting. Authors must submit a bio. Please do not use the bio field in the submission form for a cover letter or any other notes. Bio should be short. Arou