al niente
al niente
July 2026
An instrumental quartet focused on tones, noises and quiet. The ensemble moves between pure improvisation and text-based contemporary composition, with works by Stefan Thut and Gabriele Pagliano interleaved with three collective improvisations. The pieces invite attentive listening to the temporal and spatial unfolding of sound, where quiet becomes an active material.
Chaparral
Nev Wendell
June 2026
A collection of field recordings, trumpet and trombone drones, metal-sheet feedback and small sampled materials, shaped between December 2025 and March 2026. The work reflects Nev Wendell’s relationship to Los Angeles and the chaparral landscape of the Hollywood Hills, moving between urban intensity and the quieter but equally active soundscape of canyon, birds, insects, wind and dry vegetation.
Muta
Mia Windsor
June 2026
Muta is a material-driven feedback instrument developed by Mia Windsor through building and improvisation. It works by resonating physical materials and feeding their signals back into themselves through spectral processing. The recording captures a system where sound emerges from the interaction of objects, circuits and environment, with instability becoming central to the act of listening and playing.
Volumes Variations
Tobias Lanz
April 2026
Following the original Volumes, Tobias Lanz returns to the composition through two new acoustic interpretations recorded in the Stadtkirche Burgdorf. One version is for organ, the other for electric guitars and bass activated with e-bows. The room becomes a structural component, allowing small harmonic relations, resonance and phase interaction to become the central events.
Subtle Vessel
Matthew Langford
March 2026
Recorded live in the seven-story aquatic space of the Tank Center for Sonic Arts in Rangely, Colorado, Subtle Vessel is the culmination of a two-year recording process that began with a voice memo made at a piano in 2022. Langford re-records and layers the material with trumpet, flügelhorn, delay and water, allowing time, resonance and place to obscure and transform the original source.
Slick
Lucie McLaughlin and Jacob Calland
March 2026
A collaborative three-track album beginning with object-based field recordings of small metal oak leaves and acorns at The Diamond in Derry. These recordings are combined with material from an ancient oak woodland in Pengelli, west Wales, alongside magnetically sustained piano tones, flue pipes, DIY instruments and objects. The release also includes an accompanying pamphlet by Lucie McLaughlin.
En D’autres Lieux
Bruno Duplant
February 2026
On the edge of Waziers, Bruno Duplant listens to vacant parcels of land, wires, weathered surfaces and the soft turbulence of forgotten urban margins. The work gathers field recordings into an autofictional landscape where memory, chance and close attention overlap, allowing the edges of the city to become a place of quiet possibility.
Hallways
Hello Spiral
January 2026
Hello Spiral returns to the same North London block as his previous record, this time moving inward from balcony to hallway. Four eleven-minute iPhone recordings capture the building’s connective spaces: carpet, fire doors, lights, elevators, low-frequency mechanical traces and passing footsteps. The result is a quiet study of shared domestic architecture and its internal weather.
Santur & Kamancheh for Electronics
Maryam Rahmani & David Esser
January 2026
Maryam Rahmani and David Esser reposition santur and kamancheh within a field of electronics, contact microphones, geophones and environmental sound. Iranian classical instrumental resonance is expanded through microphoning, modulation and field recording, tracing migration, linguistic estrangement and cultural translation through sound, memory and place.
Is This The Land I Wish Death To Find Me
Mattie Barbier
December 2025
The first work was recorded at the Tank Center for Sonic Arts, with magnetic geophones attached to the steel exterior so that trombone activates the building’s resonance directly. The second piece, recorded at home in Culver City, uses re-recorded trombones to create a choir of phantom brass, exploring how rooms and instruments resonate without direct human input.
nothingness
Michele Bondesan
November 2025
A work for double bass and tape recorders that listens inward, toward the erosion of gesture and the drift of sound into memory. Across four movements, bowed double bass tones are captured, looped and reintroduced by portable tape recorders, creating a fragile system of accumulation, decay, disguise and quiet reintegration.
A Fine Rain Anoints The Canal Machinery
Nate Wooley
November 2025
Nate Wooley’s field recording composition attempts to embrace the confluence of humans, machines and the natural environments they pass through. Water recordings are interrupted by bridges, engines and trucks; delicate reeds, animals and wind are placed alongside the machinery of movement. The result is a lonely soundscape of community, distance and uneasy coexistence.
Musica DSP Da Camera
Emiliano Pennisi
October 2025
Synthetic sound is treated as something with weight, temperature and fragility. Pennisi begins with digital signal processing, resynthesis and algorithmic textures, then re-amps the material into rooms, surfaces and objects. Code becomes vibration, marked by air, distance and the acoustic memory of real spaces.
Unlearning noise
Eventless Plot
October 2025
Created as part of the Unlearning Noise programme, this electroacoustic work draws from field recordings, processed sounds and other audio sources to reimagine urban locations as imaginative auditory worlds. Eventless Plot use instruments, analog sources, field recordings and Max/MSP patches to explore the hidden meanings and possibilities of city noise.
no. 5
Paolo Calabrese
October 2025
An acousmatic composition constructed from recordings of an air conditioner and a 1970s fan. Through multiplication, filtering, panning and frequency shifting, Calabrese draws everyday mechanical sound into sustained tonal planes, foregrounding the usually ignorable and staging an encounter between obsolete and operative technologies.
Downriver
Sequences
September 2025
Inspired by the work and writing of Iain Sinclair, Downriver drifts through psychogeographic territory where city and countryside become liminal spaces. Slowly shifting drones, fractured textures and faintly echoed voices evoke neglected warehouses, disused monuments, hidden corners and histories resting beneath the surface.
Chitin
Narval
September 2025
Narval work with everyday objects, self-built wind and percussion instruments, feedback systems, radios, smartphones, mini-synths and dictaphones, developing each performance in response to location. Recorded in Schöppingen, Chitin lets farmhouses, a church, studio space, cornfields, birds and insects shape an intimate and tactile site-responsive sound world.
Rain/Post-Rain/More Rain/In Need Of Rain
Hello Spiral
August 2025
Hello Spiral records from a balcony overlooking the hollow courtyard of a large triangular block of flats in North London. The recordings gather rain, post-rain drips, city spill, domestic sounds and weathered ambience, using lo-fi voice-memo capture to frame overlooked and discarded sound as immersive listening space.
Illegal Attic Conversion
Jacob Calland
August 2025
A 32-minute suite for piano, flue pipe, viol de gamba and field recordings, Illegal Attic Conversion returns to the ghost architecture of memory. Half-built spaces, forgotten extensions and spectral annexes become an internal architecture of entropy and renovation, where tone, recorded air and domestic doubt are allowed to weather slowly.
Tiago Sousa
Tiago Sousa
July 2025
Recorded live at OUT.FEST, this patient composition was written for the tricentennial organ of Nossa Senhora do Rosário church. Sousa treats the organ and church with care and restraint, drawing sound from stone, air and reverberation, allowing the architecture of the instrument and room to shape the work’s quiet form.
Roto
Derek Piotr
June 2025
Recorded in 2019 and released after six years in the archive, Roto acts as a spiritual successor to Derek Piotr’s Drono. Two extended tracks use repetition, cyclical voices and digital artefact to move away from the shimmer of water’s surface and into darker, more ambiguous depths of recurrence.
A Probable Shoreline
Ryan Seward & Andrew Weathers
June 2025
Ryan Seward and Andrew Weathers are composers, multi-instrumentalists and improvisers based in the Front Range region of Colorado. As a duo, their practice engages with quietude, space and place through saxophones, electronics, harmonica, percussion and stones.
YsbrydMôn
Tristan Rhys Williams
May 2025
A collection of brief snapshot-like soundworks capturing the spirit of sites on Ynys Môn. Each piece follows a set of self-imposed restrictions: no more than two raw field recordings, tenor recorder monody, vocal recitation of text by Tristan Rhys Williams, and a duration of under two minutes. The works are dedicated to the spirits who roam the island.
Time Images
Katharina Schmidt
May 2025
Created during Katharina Schmidt’s artist residency at ZKM Karlsruhe, these pieces explore emergent harmonies, sine-wave interference and textures abstracted from field recordings. A multichannel composition made for ZKM’s concert space is presented here as a stereo mix, paired with a second piece drawn from residency material.
Pulsatilla
Magazinist
April 2025
Pulsatilla centres on idiophones: bells, vibraphones, crotales, hand-built plate reverb, cymbal sculptures and other struck resonators, alongside digital versions made through physical modelling synthesis. Across two movements, Magazinist explore the exchange between raw acoustic recording and digital synthesis, producing resonances and overtones at the threshold of audibility.
Annwn
Wren BC
September 2024
An exploration of the landscape and mythology of Wales. The first six works are inspired by gateways to Annwn and include field recordings from these locations, combined with piano, viol, tape loops and electronics. The final piece represents Annwn itself, otherworldly and ephemeral.
SubPhonics
SubPhonics
March 2023
SubPhonics are a London-based sound art collective focused on improvisation and group sound making. Their open, non-hierarchical structure allows varied influences to collide: soothing soundscapes, harsh noise, rhythmic trances, guitar, voice, bass, modular synth, flute, violin, electronics and field recordings.
Quiet Geometry
DAFAKE
March 2023
DAFAKE creates minimalist electroacoustic pieces from experimental recording techniques, DIY instrumentation and unseen sound sources such as feedback loops, corrupted data and electromagnetic fields. Quiet Geometry brings together ten modest-length tracks, pairing angular timbres and electromagnetic resonances with quiet, reflective drones.
Intervals
Wren BC
February 2023
Four pieces written in just intonation, made from digitally manipulated fragments of improvisation. Each work is built around four chords, with one note from each chord becoming the tonal centre for the next. The result is slow and contemplative, focused on evolving timbres and the physical resonance of pure intervals.
After James Benning
Jacob Calland
January 2023
A tribute to James Benning and the film Ten Skies. The work responds to Benning’s use of durational static shots, quiet contemplation and structuralist film language, rescoring the film with an earthy minimalist soundtrack built from flue pipes, contact-miked slate, a homemade chordophone and sine waves.
43.8374, 4.35351
Luc and René Virilio
November 2022
Field recordings from Nîmes are combined with sparse piano, re-pitched viol de gamba, sine-wave resonances and percussion to create a sound world of overlapping and unreal spaces. The work is intended to be inhabited as a space rather than listened to in a strictly linear way.
Outside (Articulated)
Luc Virilio
November 2022
Recorded in the mountains of north Wales, Outside (Articulated) uses homemade metallophones, extended percussion techniques and free improvisations, later digitally recomposed with synthesis. The work presents sound as a space to be inhabited, exploring stillness, quiet and the materiality of sonic objects.