The shape of this piece emerges gradually, at first several independent micro-sounds appear and are gathered at a slow pace, in order to then become organized and create musical phrases. Through these phrases various polyrhythms emerge which in turn are increased and eventually create a unified sound mass. The energy of this mass creates tension so that it becomes more and more dense until it reaches its peak and release. It will then weaken by gradually subtracting its density and organization of its individual elements until we reach the end and the initial silence. The evolution of this piece could be explained very simply with a shape of a triangle, although we will see that there are important events within this piece that break its seemingly linear evolution and dramatically affect the listener's anticipation.

Scala

Since 2013 we have published an annual mixtape of exciting new music by Goldsmiths students and alumni. The mixtape is a great way for burgeoning and unsigned artists to get their music ​out there. For the listener, it's a brilliant source of fresh, unreleased sounds.

Once again, we have been bowled over by the response to our mixtape callout this year. The 2022 collection is as long, ambitious, varied, deeply conceptual and downright catchy as ever. Thanks to all our participants, and feel free to click through and read more over at our website: https://www.nxrecords.co.uk/2022-mixtape

NX 2022 Mixtape

Ici Et Ailleurs

WE ARE NOT ALONE: A Panicattack Duo Retrospective 2054 is an immersive auditory experience and performance, within an exhibition featuring installations, paintings, prints, sculptures, photography and various mixed media works, as well as a video piece made by @idaweltt

The sound piece made by @apri_goat is guiding the audience through the story. The performance activates the art works; with us taking you through the three floor installation and a dystopian journey from 2021 to 2054.

After the end of the first series of performances the exhibition will be open to the public until the end of December 2023. The visitors will then be able to indulge in the auditory experience, going through the space in their own pace.

Sound Artist: Giulio Dal Lago @apri_goat
Video Artist: /da @idaweltt
Curators: Simge Burhanoğlu @simgeburhanoglu & Azra İşmen @darktitania
Production & Set Up: İzel Karaca & Metin Akbaş @nit3m
Performance Coordinator: Ayda Kayra @aydakayra_
Assistants: Sevgi Macide Canik @sevgimacide & Onur Tayranoğlu @onurtayranoglu
Press & PR Consultant: Burcu Dimili @burcudimili
Graphic Designer: Despina Psara @despinapsara
Technical Equipment Support: Staras Technical Productions @starastechnical
Supported by Cyprus Cultural Ministry

WE ARE NOT ALONE (soundtrack for We are Not Alone exhibition)

A Mozart classic. Slowed down with Paulstretch to become 800% more dramatic. Perfect to listen to when you're depressed and thinking about what you're doing with your existence. 

DL: http://www.mediafire.com/file/75l08nh88f0ayr0/Lacrimosa+800%25+Slower.mp3

Mozart - Lacrimosa 800% Slower

Hood By Air for Pitti Uomo FW15 score
Art by Jesse Kanda

Tracklist: 
1. Matriarch
2. Pity
3. Drowning 
4. En
5. Sifter
6. Submissive
7. Umbilical
8. Hymn 
9. Don't / Else
10. At Last I Am Free (interlude) 
11. Immortal  

Mastered by Matt Colton at Alchemy

Sifter - contains a sample of  ”Yayo Ha /W Lana Del Rey" by Beek ( @anthonybadon9 ) at 4:45
Interlude - contains a sample of “At Last I Am Free” by Robert Wyatt at 12:55
Immortal - contains a sample of ”Enjoy" by Bjork at 13:15


www.arca1000000.com
www.hoodbyair.com



Facebook: facebook.com/arca1000000
Twitter: twitter.com/arca1000000
Soundcloud: @arca1000000
YouTube: www.youtube.com/user/arca1000000

The new Arca album 'Xen' out now:
CD: smarturl.it/XenCD
LP: smarturl.it/XenLP
DLD: smarturl.it/XenDigital


Sheep (Hood By Air FW15)

A creative response through sound to the life and work of Tim Robinson (1935-2020) – cartographer, artist, painter, mathematician, writer, polymath, known in the 1960s London art scene as Timothy Drever. The portmanteau title bridges Tim’s series of paintings shown in London in 1968, ‘Dreams of Euclid’ and his first published writing on the West Coast of Ireland, ‘Setting Foot on the Shores of Connemara’, from 1984. This project was sparked by the discovery of the third painting from his 'Dreams of Euclid' series, found at the back of Tim’s studio in Roundstone, Connemara. 

First exhibited in a solo show at the Lisson Gallery, London in 1968, the work is a meticulously crafted geometric composition rendered in acrylic paint. In the composition, we hear Tim talking about and re-enacting the mark-making of the large circles made in one slow, unbroken movement. Over the decades, the painting has suffered severe damage from high tide flooding from the Atlantic. Yet through the patina and erosion, a new kind of beauty is unfolding – one that reveals a more elemental, timeworn version of the original work, echoing Tim’s lifelong affinity with nature, pattern, and existence. 

The piece interweaves sonic textures generated from a VCS4 synthesiser – a rare instrument built in the same year the painting was completed – with field recordings of the encroaching tidewater against the windows and felt through the very walls, interspersed with hydrophone recordings made at Roundstone Quay on the day following his ashes were scattered, together with those of his partner Máiréad.

Framing this evolving soundscape is a shared intimate moment: Tim reenacting in the air the embodied gesture of painting a vast circle in a single breath – an act that speaks to the confluence of geometry, movement, and presence that marked his way of being. This work becomes both meditation and homage – a resonant portrait of a mind shaped by pattern, place, and a lifelong critical inquiry into the natural world.

It is intended that the sound work is presented alongside the painting. 

The first version of 'Setting Foot on the Dreams of Euclid' was presented at ‘In Focus: Tim Robinson's Life & Work’, Áras Nua-Ealaíne na hÉireann / The Irish Museum of Modern Art (IMMA), Dublin, 10 August 2023. This reworked stereo version was made in October 2025. 

This is Drever's third response to visual art, following earlier projects created in dialogue with and presented alongside the paintings of Sandra Blow (1997) and Shuji Okada (2012).

Setting Foot on the Dreams of Euclid [Tim Robinson / Timothy Drever]

"Cistern" is the first single and title-track from Jherek Bischoff's upcoming ambient orchestral album Cistern, out July 15th on The Leaf Label. 

Pre-order now: http://bit.ly/CisternBC

Cistern is an album inspired by time Bischoff spent improvising in an empty, two-million-gallon, underground water tank, with a 45-second reverb decay. The unique acoustics of the space forced Bischoff to slow down and adapt his compositional approach - something which, unexpectedly, brought him back to his childhood, and the slow-pace of life he experienced growing up on a sailboat. 

CREDITS
Composed, Produced, Mixed & Mastered by Jherek Bischoff
Recorded by Patrick Higgins at Future-­Past Studios, NY
Photography by Alex Stoddard
Art Direction by Jan Lankisch

MUSICIANS
Jherek Bischoff - Sub-bass, Bells
Contemporaneous:
David Bloom - Conductor
Kemp Jernigan - Oboe
Vicente Alexim - Clarinet
John Gattis - Horn
Evan Honse - Flugelhorn
Daniel Linden - Trombone
Kate Dreyfuss - Violin
Marina Kifferstein - Violin
Josh Henderson - Violin
Nikita Morozov - Violin
Nicole Parks - Violin
Finnegan Shanahan - Violin
Kallie Chieckhomski - Viola
Sarah Haines - Viola
Dylan Mattingly - Cello
Matthew Smith - Cello
Pat Swoboda - Contrabass
Additional Musicians:
Serena McKinney - Violin
Lauren Baba - Viola
Aniela Marie Perry - Cello
Mayumi Heider - Bells

(p) 2016 Jherek Bischoff under license to The Leaf Label Ltd
(c) 2016 The Leaf Label Ltd

Cistern

N30: Who guards the Guardians? fuses official and unofficial recordings of police transmissions made on November 30, 1999 into a simmering polyglot of radio traffic, polyphonic speech, splashes and sprays of tape hiss, enigmatic numbers glossolalia, and other broadcast anomalies.

An oral history made in the moment, this 57 minute radiophonic work depicts how law enforcement acted and reacted on that unforgettable day in Seattle history when thousands gathered in Seattle to protest the World Trade Organization. 

Both activists and law enforcement strategists refer to November 30, 1999, as "N30" while "Who guards the Guardians?" was inspired by lines from Plato and Juvenal. In that classic of Greek philosophy, The Republic, Plato called for elite guardians to rule his ideal state: "We mean our guardians to be true saviors not the destroyers of the State...." (Book IV, 1896 Jowett translation). Addressing the decadence, erosion of individual rights, and decline of morality in the early Roman Empire, the satirist Juvenal asked pointedly in his Sixth Satire "Who guards the guardians?" 

N30: Who guards the Guardians?

Creating soundtracks for the movies in my head.

Asynchronised Swimming

Amelia

A short sonic response to the digital feedback loop our lives have been plugged in due to the current pandemic.
Improvisation: Expressing through Noise, Feedback, Resonance, Space

Lockdrown

Kostako

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