hm I'm surprised sometimes at what surrealism comes from human beings own creations

Sounds recorded on Mars from NASA's Perseverance Mars Rover. The rover has Entry Descent and Landing (EDL) microphones aboard as well as a microphone on its SuperCam instrument. The microphone on SuperCam gives scientists another "sense" with which to probe the rock targets they are studying. Details: https://mars.nasa.gov/mars2020/spacecraft/rover/microphones/

Perseverance Rover Sounds from Mars

This recording was made by the SuperCam instrument on NASA’s Perseverance Mars rover on Feb. 19, 2021, just about 18 hours after landing on the mission’s first sol or Martian day. The rover’s mast, holding the microphone, was still stowed on Perseverance’s deck, and so the sound is muffled, a little like the sound one hears listening to a seashell or having a hand cupped over the ear. Just a little wind can be heard.

Credit: NASA/JPL-Caltech/LANL/CNES/CNRS/ISAE-Supaero

First Audio Recording of Sounds on Mars

This is the first acoustic recording of laser impacts on a rock target on Mars from March 2, 2021, the 12th sol (Martian day) from Perseverance’s SuperCam instrument. The sounds of 30 impacts are heard, some slightly louder than others. Variations in the intensity of the zapping sounds will provide information on the physical structure of the targets, such as its relative hardness or the presence of weathering coatings. The target, Máaz (“Mars” in Navajo), was about 10 feet (3.1 m) away.

Credit: NASA/JPL-Caltech/LANL/CNES/CNRS/ISAE-Supaero

First Acoustic Recording of Laser Shots on Mars

Listen to 16 minutes of raw, unfiltered sounds of the Perseverance Mars rover traveling in Jezero Crater. The noise generated by the interaction of the rover’s wheels and suspension with the surface can be heard, along with a high-pitched scratching noise. Perseverance’s engineering team continues to evaluate the source of the scratching noise, which may either be electromagnetic interference from one of the rover’s electronics boxes or interactions between the rover mobility system and the Martian surface. The entry, descent, and landing microphone was not intended for surface operations and had limited testing in this configuration before launch.
 
Credit: NASA/JPL-Caltech

Sounds of Perseverance Mars Rover Driving – Sol 16 (16 minutes)

NASA engineers combined three segments from the raw audio file recorded while the Perseverance Mars rover rolled across a section of Jezero Crater on sol 16 of the mission. Sections 0:20-0:45, 6:40-7:10, and 14:30-15:00 were combined into this 90-second highlight clip. There has been processing and editing to filter out some of the noise.

Credit: NASA/JPL-Caltech

Sounds of Perseverance Mars Rover Driving – Sol 16 (90-second highlights)

This recording was made by the Perseverance Mars rover on February 9, 2022 (Sol 346). The puffs and pings of the rover’s Gaseous Dust Removal Tool (gDRT) were collected using a microphone on the rover’s chassis. The gRDT has a tank of nitrogen gas and is used during sample collection to blow the dust away and reveal the fresh rock surface underneath.

Perseverance Rover Records Puffs and Pings of Gaseous Dust Removal Tool (14 minutes)

Sudany

This audio shows the results of NASA’s Perseverance Mars rover using its SuperCam microphone to record the sounds of a Martian dust devil – the first time any such recording has been made. The dust devil passed directly over Perseverance on Sept. 27, 2021, the 215th Martian day, or sol, of the mission.
Credit: NASA/JPL-Caltech/LANL/CNES/CNRS/INTA-CSIC/Space Science Institute/ISAE-Supaero

NASA's Perseverance Records a Martian Dust Devil

This audio is the air compressor for MOXIE pumping air on Mars. MOXIE was launched aboard NASA’s Perseverance rover to test a technology for extracting oxygen from the Red Planet’s carbon dioxide-rich atmosphere. 
Credit: NASA/JPL-Caltech/CNES/IRAP

MOXIE's Air Compressor Pumping Away on Mars

Following a run of chamber recordings, Samuel Reinhard returns with a suite of electroacoustic collages. 

"Movement", the New York–based composer’s latest offering, is built from notes softly held. In his ongoing investigation of musical duration, perception, and attention, Reinhard deemphasizes progress through an embrace of repetition and negative space, inviting listeners to linger in time. Instrumental recordings are arranged according to a predetermined system, iterating fragments of sound in overlapping intervals of various sizes. Delicately layered snippets of decaying piano are joined by cello (Leila Bordreuil), bass flute (John Also Bennett), double bass (Vincent Yuen Ruiz), baritone sax (Michael Biel), and harp (Shelley Burgon). This breadth of instrumentation, arriving as individual notes stretched and overlapped, is treated not as an opportunity for immersive coalescence, but rather a gentle augmentation of texture, free-floating counterpoint. Notes are accompanied by the traces of the bodies and actions that produce them: a hand pressing a key or an arm keeping a bow aloft; breath filling an instrument’s body or glancing off its surface; a string vibrating and then softening to stillness. In sum, we hear resonance in the process of being sustained, as well as in the release that follows.

Movement is a joint release from Hallow Ground and Präsens Editionen, and follows offerings by Kali Malone, Lawrence English, and FUJI||||||||||TA  on Hallow Ground, and Robert Turman, Magda Drozd, and Anna Homler on Präsens Editionen.

Samuel Reinhard - No. 1

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory, invited to create Onsen (hot spring) music commemorating the city’s 100th anniversary through sound. Known for his Lost Japan (Shitsu-nihon) works, which weave together vanished eras with the ambient residue of the past, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched near the bay.

Over two weeks, Meitei listened to steam, stone, and history. The resulting work, Sen’nyū, traces the spirit of onsen culture. Like water seeking its path, the music unfolded with natural inevitability, shaped by Meitei’s synesthetic sensibility and deep reverence for place. Equipped with a microphone, he ventured into Beppu’s famed sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou — capturing bubbling earth, hissing vents, wind over bamboo, and the voices of regular visitors. These field recordings became the bones of the composition, an attempt to sonify even the rising mist and subtle temperature shifts felt on the skin.

Sen’nyū unfolds as a single, continuous piece. Meitei’s score moves like fog through sulfur and stone, traversing the veiled madness of Bouzu Jigoku, the spectral hum of Yamada Bessou’s inner bath, and the voices and atmosphere of Takegawara Onsen. At its heart is a gesture of quiet reverence — for water’s patience, for the land’s memory, and for the hands that have bathed here across generations.

Meitei has always expressed his own views on things and events that are self-evident to the Japanese people but are now perceived as subtle impressions. On this occasion, however, he does not create music based on his own unique themes of Japan. Instead, he launches music into the world that has been created in actual places of Japan, music that can be felt with the hands.

During the project, Meitei also conceived a two-day public sound installation at Takegawara Onsen, culminating in a live performance on the final day. Bathers immersed themselves in hot spring water while listening to the piece through speakers embedded inside the bathhouse — a ritual fusion of body, place, and sound.

The album marks Meitei’s first work centered entirely on onsen, and also introduces a new phase of his Lost Japan project under the title “失日本百景” (One Hundred Lost Views of Japan) — a series focused on existing places of longing, still breathing within contemporary Japan. Alongside the album, Meitei will release his first-ever photo book, a visual documentation of this journey. A new layer is added to the world he has built through sound alone until now.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

The album will be released on 25 July 2025 on 180g LP and CD, with mastering by Stephan Mathieu.


Sen'nyū - San-no-yu

~ LAAPS 045 ~ [SEQ.06 - LP45]

artist : Akhira Sano
album : D-R
duration : 31.24 mn
date : July 28th, 2025

edition :
-  vinyl : limited to 200 copies / white LP / selective UV varnish (front+back) / hand numbered 
- cd : limited to 150 copies / pantone / hand numbered + handcrafted, sealed

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pre-order : June 30th, 2025 / official release : July 28th, 2025
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Sounds, arrangements and Mixed by Akhira Sano

Mastered by Taylor Deupree
Artwork by Jenni Toivonen
Design by Sprflxgrfzm
 
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Links :
https://laaps-records.com/
https://www.instagram.com/iikki_laaps/
https://linktr.ee/Akhira_Sano
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℗ & © 2 0 2 5 - L A A P S - L A A P S 0 4 5

Akhira Sano - Demande Un

yume nikki + (radio95fm)

lung liquid

This is a sound that was electronically placed onboard the Voyager 1 and 2 spacecraft. 

Golden Record: Kiss, Mother And Child

The Disintegration Loops II

dlp 2.2

Hello, we’re NASA. You may have seen our astronauts, rocket launches, or Mars rovers — but have you heard our sounds? From interviews with astronauts and engineers to stories that take you on a tour of the galaxy, NASA’s audio offerings let you experience the thrill of space exploration without ever leaving Earth.

MOXIE's Air Compressor Pumping Away on Mars

NASA

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