Soundscape, black rubber puffer, vinyl, basenotes scent accord
Earth, fire, isochronic tone in the Schumann resonance
20.8Hz is the frequency where sound starts to becomes too low to hear with the human ear. It is also a Schumann resonance, one of the peaks in the extremely low frequency portion of the Earth's electromagnetic field spectrum, which permeates the planet and all its living organisms.

20.8Hz

[Slowed and Reverbed] Frosty Id-Basenotes (Prod.Pbyoscar)

Just a cold mofo.

Cold Cuts EP Releasing: 12/??/2025

Stanier Black-Five is an Australasian sound artist and writer, who for the last two decades has been actively involved with experimental music and sound art in the UK, Europe and Australasia.

Her audio work is largely based on the manipulation of her own environmental recordings, as well as found sounds, which she uses to create dense soundscapes that use sources such as mesmerising aircraft drones to the pounding rhythms of trains and more recently the sounds of the earthquakes that have shaken her city.

Also a  wine writer, her interest in sound and taste has converged in a number of multi-sensory projects. These include the installation, Oenosthesia created from the sounds of wine sourced on an Italian artist's residency,combined with the local wines themselves, and her recent multisensory Mishearings solo exhibition.

Stanier Black-Five performs regularly both in New Zealand and internationally. She has taken her visceral musique concrète to the UK and Europe, performing alongside artists such as Chris Watson, Daniel Menche and Jessica Rylan and presented her work at festivals such as London Musicians Collective’s annual Festival of Experimental Music.

Stanier Black-Five has had her work released internationally, with recent releases including two CD albums on Belgium's Entr'acte and a track on the UK's Touch Radio. She has also hosted a number of experimental radio shows, on the UK’s Resonance FM to Christchurch’s RDU.

Actively involved with communicating about sound art and experimental music, she has contributed to the likes of the UK’s Noisegate magazine, Berlin’s Datacide and has written a chapter in the book Erewhon Calling: experimental sound in New Zealand, edited by Bruce Russell.

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