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

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)

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

Courtesty of Electric and Magnetic Field Instrument Suite and Integrated Science (EMFISIS)aboard NASA’s Van Allen Probes team at the University of Iowa

Chorus Radio Waves within Earth's Atmosphere

https://colorsquadrecords.bandcamp.com/album/c-o-l-o-r-s-q-u-a-d-0-1-6

Coagula [Color Squad 16]

From the soft, digital murmur of notation software and the absence of physical instruments, The FURICO Music Team (FMT) emerges, not as a band, but as a motion. A pendulum. A thought experiment materialized in waveform. 

Founded in Japan and composed of members TM and TI, FMT is less a musical group than a conceptual unit for sonic construction, deconstruction, and transformation. Describing their works as Auditory Art, FMT doesn’t simply make music; they create what they call "Auditory Art," where sound is both the medium and the inquiry. Every note is born in a digital void, composed entirely through notation software and production tools, unbound by fingers or fretboards. It’s a practice that reveals new sonic geometries and emotional architectures built in impossible spaces. 

Their latest album, Le Cube Dans Mon Rêve (The Cube in My Dream), is a speculative sonic response to Cubism, not its visual representations, but its method. Its disassembly. Its ghostly logic. The origin spark was a quietly buried drawing by a guest collaborator, Chiaki Tamura, a torn, reassembled work titled Temps et Regard (Time and Gaze), which became both a mirror and a catalyst for TM’s reexamination of Cubist thought in sound. 
As TM reflects, "Music history seemingly skipped a Cubist movement. While visual arts progressed through Fauvism, Cubism, Expressionism, and Futurism before reaching abstraction, music moved almost directly from Impressionism to dodecaphony, as developed by Arnold Schönberg and others."  What if that missing chapter had existed? What if sound could be prismatic? What if musical time, like a shattered face in a Braque or a bottle in a Picasso, could be reassembled, fragmented, and out of order? 

The album unfolds in the exact order of its creation, beginning with Cube 1: Le Déclencheur (Trigger), a foundational piece inspired by Cézanne’s visual innovations and imagined as a kind of "Neo-Impressionism" in sound, using tonal ambiguity and rhythmic displacement to suggest fragmented perception. Originally intended as part of a suite with Cube 2: Les Tentatives (Attempts), a geometric deconstruction of the first, these two works became the seed from which the remaining tracks organically emerged, each one reflecting a new facet of the same conceptual object as it is turned, refracted, and glimpsed from shifting angles. 

Though FMT’s work is forward-leaning, it resonates with the subtle futurism and ambient sophistication threaded through Japan’s proto-electronic history. Their music evokes, not imitates, the spatial elegance of Interior, the crystalline classicism of Satsuki Shibano, the fluid bass geographies of Motohiko Hamase, and the generative logic that once launched YMO into myth. These references aren’t about genre, but rather a shared instinct to reshape sound into unfamiliar, emotional forms. FMT extends this lineage not by homage, but by dismantling its language to sculpt new, imagined architectures. 

But this is no academic exercise. FMT’s palette is strange and delicate, sometimes cool and distant, sometimes tenderly off-balance. Sounds echo without sources. Rhythms that seem to emerge in rehearsal. Voices, or echoes of them, drift in and out like fleeting thoughts. It's music composed not to replicate Cubism, but to dream it, to simulate its psychological weight as well as its form. As the album's subtitle implies, Le Cube Dans Mon Rêve is Cubism remembered as it never was: a dream fragment of a movement music never had.

The FURICO Music Team - Cube 6: L'Avant Et L'Arrière (Le Cube Dans Mon Rêve, 2025)

Yerofeyev::: 
https://soundcloud.com/yerofeyev

Photo By Ivons

Senglar & Yerofeyev - Tempest Too

The focal point in these elided consecutive excerpts from a continuous dawn recording is the dawn duet and solo singing of the Kangaroo Island subspecies (lashmari) of the Western Whipbird (Psophodes nigrogularis), also known as the White-bellied Whipbird (Psophodes leucogaster).** Background species include: Crescent Honeyeater, Galah, Grey Shrike-thrush, Kangaroo Island subspecies (KI) Crimson Rosella, KI Grey Currawong, KI Superb Fairy-wren, among others. The recording was made near the edge of a waterfall that was completely dry, overlooking a deep valley winding down to the ocean just over a kilometre away.

When listening to this recording (and viewing the accompanying track photograph taken at the location), it is important to embrace in mind that one is listening to an ecosystem soundscape recorded at dawn only five years after untypically catastrophic bushfires (the 'Black Summer' bushfires of 2019-2020) - an untypicality that is scientifically attributable to anthropically-caused climate change. This an ecosystem still in early stages of a struggling recovery (exacerbated by the continuation of the drought that initially catalysed the 'Black Summer' bushfires), and the focal birds that one is listening to were listed, in 2021, according to the IUCN Red List classification, as 'Endangered'. The following is a quotation from the Australian government environmental report that advised this classification:

"The main factor that made the subspecies eligible for listing in the Endangered category was the severe (>50%) reduction in population size in the previous 10 years. This major reduction in population was caused by the largest recorded wildfire on Kangaroo Island that burned for six weeks from late December 2019 to early February 2020. The subspecies’ extent of occurrence is estimated at 5,300 km2 (stable trend), and the area of occupancy is estimated to be 540 km2 (contracted). The population is estimated to have declined to 1,000 mature individuals in the wild due to the Kangaroo Island 2019/2020 bushfires, however this decline is probably not continuing. An analysis by a team from the National Environmental Science Program Threatened Species Recovery Hub shows that a large proportion of the range of Kangaroo Island Western Whipbird was affected by these fires: 51% was burnt in high to very high severity fire, and a further 11% was burnt in low to moderate severity fire. A structured expert elicitation process was used to estimate the proportional population change for this species from pre-fire levels to immediately after the fire and then out to three generations/10 years after the fire, when exposed to fires of varying severity. These results, combined with the spatial analyses of fire overlap, suggest that one year after the fire, the species has experienced an overall decline of 44% from pre-fire levels, but that the decline could be as large as 62% (bound of 80% confidence limits). After 10 years, the estimate for the overall population decline relative to the pre-fire population is predicted to be 33%, but potentially as much as 58% (bound of 80% confidence limit). For comparison, experts also estimated the population change over time in the absence of fire; by 10 years, the overall population of Kangaroo Island Western Whipbird after the fire was estimated to be 30% lower than it would have been, had the 2019/2020 fire not occurred."

Reference: https://www.environment.gov.au/biodiversity/threatened/species/pubs/81024-conservation-advice-14122021.pdf

**A note of thanks to the amazing Marc Anderson for identifying a clip from this bird's song on xeno-canto.

2025.04.08 White-bellied Whipbird. Dawn Songs. Kangaroo Island. Autumn.

stream/download the full piece here :
https://bremnar.bandcamp.com/album/the-avenue

The Avenue (excerpt)

KITCHEN. LABEL is proud to present Jewels, the debut album from Tokyo-based composer Ryuuta Takaki, emerging from a new chapter in the city’s alternative wave. His music opens realms of mysticism, memory, and imagination, unfolding like radiant mosaics that echo symbolic traditions, Eastern esotericism, and a neo-Orientalist dreamworld. Takaki shapes music that moves between sacred stillness and ornate intensity. Though his creative path once passed through experimental hip hop and electronica, he has since dissolved into a borderless language that feels timeless and unbound. Jewels stands as ambient music presented not just as sound, but as an object of weight, mystery, and sensuality.

Jewels draws its initial spark from the perfumed visions of Symbolist painter Gustave Moreau and the Kegon (Huayan) cosmology, which sees the universe as a vast net of interrelations where radiant jewels shimmer at every intersection. Takaki translates this philosophy into music, building a work that reveals how the smallest resonance can reflect the entire whole.

It begins with “Chrysalis”, a fragile awakening where tones drift like wings opening in first light, before spiraling into the kaleidoscopic “Funnel and Infinite Reflections.” “Kegon” follows as a conceptual anchor, a meditation on fractal harmony where tones layer into infinite patterns that echo the Buddhist vision of interconnectedness. The title track, “Jewels,” shimmers with solemn clarity, glinting and fading like starlight across water. Later, in “Sunken Cathedral,” Takaki submerges the listener into an aquatic reverie where sacred and profane dissolve into one. “Gilded Veins” pulses with lustrous textures, like living currents coursing through stone, before the closing “Celestial Tuning” offers a shimmering epilogue, as if suspended over valleys of drifting clouds, opening onto a horizon of distant citadels.

Beyond its unfolding narrative arc, musically, Takaki’s work at moments suggests the dreamlike, kaleidoscopic qualities of Susumu Yokota meeting a Narada-esque new age landscape. Conceptually, his exploration resonates with Jon Hassell’s “Fourth World” vision, dissolving cultural boundaries of East and West into a single continuum, though always expressed through his own intimate and ornamental language.

Jewels reveals itself as a cosmology in miniature: a living network of harmonies, reflection, and becoming. In Takaki’s vision, every sound becomes a jewel — radiant, infinite, and alive — turning the album into a mandala of sound where resonance and reflection unfold without end.
The album will be released on 24 October on Compact Disc and digital formats, with mastering by Chihei Hatakeyama.



Ryuuta Takaki - Jewels (Jewels)

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

Golden Record: Kiss, Mother And Child

And beware the weird radio emissions Galileo gathered from Jupiter's largest moon, Ganymede.

Beware of Jupiter’s Largest Moon Ganymede

The Stanford Experimental Physics Lab sonified data from the European Space Agency and NASA's Solar and Heliospheric Observatory (SOHO). This humming sound captures the Sun’s natural vibrations and provides scientists with a concrete representation of its dynamic movements.

For more solar sounds, visit: http://soi.stanford.edu/results/sounds.html

Sun Sonification

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.

NASA's Perseverance Records a Martian Dust Devil

NASA

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