Songwriter, multi-instrumentalist, engineer/producer.

LILITH LANE is a chameleon of the Melbourne music scene. 

She writes and performs in solo projects and in bands, is a studio recording engineer/producer and founder of Venus Studios in the Second World Studios complex in Fairfield. Lilith also moonlights in music production education.  On the back-burner whilst finalising a Masters for a Melbourne recording studio histories digital archive (launch details coming soon), she is currently wading through a pile of unreleased songs for recording later this year.

Les Yé-Yé Girls at the Labour in Vain- Melbourne, 2019.

She believes in substance over celebrity and community over individual gains.

She is a strong supporter of live music and occasionally mixes live bands. 

Pre-pandemic shows included mixes for Amyl and the Sniffers, Bitch Diesel, Private Function & Dicklord at the short-lived iconic Melbourne CBD venue Globe Alley (2018-2020).

She is as equally comfortable rolling on a sticky carpet for a chaotic guitar solo in Les Yé-Yé Girls as she is performing a piano ballad from one of her three solo albums. 

Her recent project Baxter Avalon is a foray into synth-pop minimalism, with performances that question live music convention and provoke both adulation and confusion. “It’s like a famous 80’s band you’ve never heard of”- random punter.

She’s played keys on podiums at stadiums around the country, whilst seriously contemplating the question “What About Me?” posed by Moving Pictures vocalist Alex Smith. 

Baxter Avalon- ‘Witness’ 💕 features exceptional DIY special effects. 😜

She has duetted with Tim Finn of Crowded House on national television show RocKwiz, and contributed her dulcet vocal tones to projects by Angie Hart, Clinkerfield, the Ukeladies, Horsestories, George Byrne, the Devastations and others.  She worked at Bakehouse Studios in the golden days of the mid-2000’s as their first female studio engineer and has been an in-house engineer at Newmarket and Rollingstock Recording Rooms.  She was a member of and toured Europe with bands Black Pony Express, and the Cliffy Davis Goodtime Band before releasing solo material.  She was frontwoman of a band in her teens that was one of the early winners of Triple J’s Unearthed competition, back when submissions could be on either tape or CD.

She poached Paul Kelly’s rhythm section (Peter Luscombe & Bill McDonald) for her first two solo albums. Was very nearly in his band before moving to Spain with aspirations of a career change studying Art History at Madrid Uni.   Unable to escape the lure of the muse she fell into compadréism with party rock Spaniards Los Chicos, fast-tracking her Spanish language skills and education in the art of appreciation of the Madrid music scene.  Detrimental to formal studies but essential to fluency in the Spanish. She recorded third solo album Pilgrim in collaboration with Spanish underground heroes Guadalupe Plata released by French label Beast Records & Buttercup Australia & toured through France and Spain.

‘I Could Get Used to This’, from solo album ‘Pilgrim’, a collaboration with Gaudalupe Plata, filmed at Second World Studios, the production complex Lilith’s recording studio, Venus, is now housed in.

She produces other music-makers with distinct individual talent and has recorded, mixed and mastered artists such as Yolanda DeRose, Cash, Undercover Crops, Bruha Bee, the Fix Ups, Rosie Hayden, Glomesh and Bouclette.  She is a specialist in vocal production as a producer with extensive performance and session vocal experience.  She has assisted recordings for artists including Courtney Barnett, Kurt Vile, and Foy Vance.

As an advocate for diversity, Lilith is currently developing projects with industry partners to address underrepresentation in music production in the recording industry, particularly of women.

Her engagement with industry has included Creative Victoria grant funding panellist and Music Victoria Award judging.  She contributed to Australian Research Council project Interrogating the Music City,  as a research assistant for Melbourne recording studio culture with publication by Bloomsbury in late 2021.

She has produced the majority of her own video productions, has a background in dance and collaborates with artists from other mediums.  She has choreographed group tap dance performances, performed at the Hammersmith in London and Sydney Opera House in an improvised collaboration for a literary reading, performed in a gallery in Madrid for a visual art performance piece, has collaborated with local visual and performance artist Billi Lime, and is regularly embarking on new creative ventures.

She dreams of driving an EV conversion of a vintage car and works towards living a packaging free lifestyle.