Mixed Bag (2023) Part ✌

A Binding

Feral Hymns

high gravity

After Dark

i will always haunt you

Pleased to share the 9th episode of the Kuboraum Digital Sound Residency, hosting Studio LABOUR’s mind-altering soundscape mass and mess, dispersion of subjectivity.

LABOUR is the Berlin-based sonic entity composed by multidisciplinary artists Farahnaz Hatam and Colin Hacklander. Bringing together their experience in molecular biology, sound art and post-tonal theory, they compose ambitious and reverently experimental audio works centering around the transformative potential of sound. Their practice promotes active listening and a heightened sensory awareness, interrogating existential questions and the power structures that form our collective reality. Through immersive performances shifting between digital sound synthesis, algorithmic compositions, percussions and vocals, LABOUR explore the juxtaposition of amplified and unamplified sounds within specific architectural spaces.

“LABOUR devise methods of co-existence and distinction through rupture while gesturing towards the possibility of strong, sudden shifts in consciousness.”

'mass and mess, dispersion of subjectivity’ shows their continuing exploration of temporal juxtapositions, merging algorithmic rhythms with cyclical pulsing drum layers to discover alternative notions of time. This new track relates aesthetically to their previous pieces next time, die consciously (بیگانگی) and hit of enlightenment, contemplating on the construction-of-self and the extent to which external forces create us, being heteronomy the condition of all things. Operating simultaneously on multiple temporalities — from microsounds and stochastic synthesis to rhythmic cycles to acknowledging that which propels beyond — these pieces take a critical stance towards notions of regulated time by embracing rhythmic instability and sound as sculptural material.

Their recent performance Sungazing premiered in Kraftwerk during X100 Berlin Atonal (2022) is one of their most extensive works so far, involving an ensemble of 30 drummers, 7 string players, 4 dancers, 2 drum sets, and 3 visual artists, all distributed throughout the audience. Proposed within the framework of Xenakis’ legacy, the performance was described as ‘An ode to the one who pursues an experimental lifestyle, an ode to the avant-garde’. Other commissioned compositions and performances include: Eventide in collaboration with Fa’ Pawaka (2022), Julia Stoschek Collection, Berlin ; Sungazing, HAU (2022), Berlin ;  Constructs of Sanity, Musica Sanae, Berlin (2019); nine-sum sorcery, Berlin Atonal (2019); Activating the Gropius Bau, Sonically, Martin Gropius Bau, Berlin (2019); next time, die consciously (بیگانگی), Berlin Atonal (2018); Hacklander’s Activating the Messeplatz, Sonically and Stochastic Activation: Basler Trommeln (with Isabel Lewis), Basilea, Art Basel (2018); conatus/consent, Neue Musik in St Ruprecht, St Ruprechtskirche, Vienna (2015) and Levels of Intrusion, transmediale, Haus der Kulturen der Welt, Berlin (2014).

composition and production by LABOUR: Farahnaz Hatam and Colin Hacklander
second drummer: Masaya Hijikata
bass clarinet: Yoni Silver
drums recorded by: Francesco Donadello

Photography: Evelyn Bencicova

Kuboraum Digital Sound Residency: www.kuboraum.com/digital-sound-residency/

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Studio LABOUR - mass and mess, dispersion of subjectivity

Where The Bough Has Broken

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Slavic Lap Dance

speaking for the first time

ˡᵒᵒᵏ ᵃᵗ ᵗʰᵉ ᵛⁱᵈᵉᵒ ⁱᵗˢ ʳᵉᶜᵒʳᵈⁱⁿᵍ ʳⁱᵍʰᵗ ⁿᵒʷ
 
https://dokumen.pub/love-and-limerence-the-experience-of-being-in-love.html

Yves Tumor - Limerence (Deterioration Mix)

Nothing changes when nothing changes 
Every can when everything does 
🇮🇪🇵🇸🇸🇩🇨🇩🇧🇫🇱🇧🇨🇺

Our very own bloody sunday

Be that edge

Hell Canto

On 7.10.23, Palestinian forces, led by Hamas, broke down the fence separating the Gaza enclave from Israel and unleashed a savage day of slaughter and kidnapping that ended with 1,195 dead on the Israeli side and 251 taken as hostages. The Israeli response was just as savage but much longer lasting and much, much more devastating. It resulted (at the time of writing) in around 72,000 deaths (70,000 - most likely, many more - Palestinians, largely non combatants, and 2,000 Israelis, largely soldiers) in Gaza, as well as at least 170,000 Palestinians injured, compounded by a genocidal policy of starvation and destruction of civil order. A response that has destroyed most of Gaza and accelerated the expansion of illegal settlements in the West Bank - where there have been around 1,000 Palestinian deaths caused by Israeli settlers and the IDF since October ’23. There have also been many deaths and injured in Lebanon, Syria, Iran and Yemen.

The horrors of the Unholy Land felt near at home, and like the invasion of Ukraine, pushed me to give some kind of personal response - however pointless and inadequate - beyond following and sharing news and commentaries. Already far into Luna rising, a text and electronica album about Ukraine and Russia, I didn't feel capable of responding with texts so I embarked on a wordless album called Hell Canto.

The parameters are the same for each of the Hell Canto pieces. I’d call the methodology a way of comprovisation, of making sound poetry, derived from vocal improvisations and electronic manipulations. In November '25, having recorded 50 pieces, decided to stop adding more - also the fragile and unlikely October '25 ceasefire remains in place though in practice the word ‘ceasefire’ is a bad joke, with no sign of real peace and humanitarian and political solutions on the horizon. I’ve listened through the 50 pieces and chosen 27 that I’d like to be included in the album and 23 which are orphans for the time being at least. The 27 pieces come to a total of 80 minutes which might be too long for a CD. It’s not sure yet. Anyway, for now there are 2 Soundcloud playlists - the 27 in the draft order for the album, and the 23 which for now are in order of recording.

Raining Spiderling
Istanbul, December 2025

Weeping (mix 1.1)

SONG FOR AN UNBORN SUN

Cover the Windows and the Walls

You Never Came

Where The Bough Has Broken

Hilary Woods

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