DJBBOY X MLBUCH - HIGH SPEED [OUTRO BLEND].mp3

𝔥𝔶𝔭𝔢𝔯-𝔪𝔢𝔪𝔬𝔯𝔶 is about hyperreality manifest in the form of digital memory, and the ways in which memory is distributed, transformed, and modified through virtual space. It seeks to imagine the sounds of a cybernetically mutated digital fragment of the past that has taken on a ghost-like life of its own. ‘I’ll Never Smile Again’ (1940) by Ruth Lowe is a song about memory itself. It functions in this piece as a sort of metaphor for the way the past shapeshifts through different electronic media and is deconstructed, decontextualized and distributed through virtual spheres.

Ilana Waniuk - violin
Michael Jones - percussions
Robbie Bui - cello 
Matthew Henson - double bass 
Nikolas Vudu - mastering engineer

Hyper-memory for Amplified Ensemble and Electronics

New life- Delloj

Beginning of Superoxygen. 

Throwing the listener from high to low energy at rapid pace, Superoxygen never lets the listener get too comfortable.

Superoxygen (beginning) | 2024 | virtual playback

unravel

PINK

DIDITONEM

goo air

A reflection on Palestrina's 'Assumpta est Maria a 6'
Commissioned by Suzi Digby and the ORA Singers
Performed and recorded at the Dora Stoutzker Hall at the Royal Welsh College of Music & Drama, Cardiff, October 2025

Rather than using a totalising, self-contained system to reflect Palestrina’s composition, Assumpta est Maria takes a collage-like approach to reflection, using several elements from the original piece as separate starting points. Structurally, for example, Assumpta est Maria mirrors the two distinct characters of Palestrina’s form: the opening section is one of gentle ebbs and flows; in the second section, the piece is flung into a dancing triple metre. Meanwhile, the melodic lines in Palestrina’s music provide a rich palette of material. Fragments of the opening melody of the original piece appear several times throughout Assumpta est Maria, manifesting perhaps most explicitly as a cantus firmus underneath the lilting upper voices in the second section. At other points, strings of pitches borrowed from the original piece appear in subtler configurations, with harmonic fabric woven from verticalised arrays of Palestrina's melodies. After a final affirmation that reworks and saturates Palestrina’s setting of ‘laudantes benedicunt Dominum’, the music lingers, withdraws, and then vanishes.

Superoxygen (beginning) | 2024 | virtual playback

Karin Hawksworth

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