Have you ever wondered how computer files sound? "SONICDATA" is based on the idea of converting computer data into sounds through sonification. In this album, I have transformed selected files into audible sounds, allowing the uniqueness of each file to be experienced acoustically. This enables a multi-layered auditory engagement with data-based sounds.

Fuyu

Kōri

Kuro

Playlist/Mix for Performance Art 3-20-25 at Elgin Street Studios. University of Houston. Sculpture and Integrated Practices. Photo by Hanna Antonsson.

OW! PLEASE TAKE A SEAT AT END

FOLDING PAPER

Tracklist:

Compost - Bwaata
Quilapayún - Te Recuerdo Amanda
Weldon Irvine - Only Yesterday
Roberta Flack - Suzanne
Nyron Higor, Nathalia Grilo - Maravilhamento
Flora Purim - San Francisco River
George Duke - From Me to You
George Duke - Carry On
Eighties Ladies - Tell Him
MF DOOM X TATSURO YAMASHITA - Windy Ladies
Les Go De Koteba, Alfredo Alias - I Can’t Go For That (No Can Do)
Viola Wills - Dare to Dream
Lonnie Liston Smith - Golden Dreams
Kelala - Raven (unplugged)
Kelala - Take Me Apart (unplugged)
Black Milk, Fat Ray - Gotta Know
kwami-soul - andthatwasyourz?
32Burden - Shenadamn 2
dj blackpower - green of me
Jack McDuff - Oblighetto (J Dilla remix)
Lenny White - Sweet Dreamer
James Mason - Dreams
Natalie Cole - La Costa
Minnie Riperton - Minnie’s Lament
Roy Ayers - Time and Space
Roy Ayers, Merry Clayton - I Really Love You
Rick Holmes - Remember to Remember

Run of the Mill - Aaja Channel 1 - 12 03 25

Untitled-2023

The project “conditions of the second encounter” is all about radio. Since radio is relation, Silja Beck invited friends and colleagues for interviews in which she gave them keywords to talk about, while she shut up, listened and recorded. For a series of shows, this material is arranged into sound-collages.
Guest link https://www.instagram.com/stereosilja/

Silja Beck is currently graduating at the Royal Institute of Art Stockholm. She works mostly with social processes and sound and uses listening as a tool to investigate how social constructs form us and how we can shape them.


Kastra • On Imagination • Guest Mix by Silja Beck w/ Eleni Poulou (19.03.2025)

A playful collaboration between poet Nefernici and independent label Minerals Studio. Spring Equinox vibes. Just pulled out of the vault, to lift the mood. More projects on the way for 2025.

S A L T (F e a t .N e f e r n i c i)

AUTOPSIA

Tracklist

01. Daniel Vickers - Alter
02. Glacis - Under The Bare Sky
03. Federico Durand - Mensaje Desde El Mar Del Norte
04.  Rhucle & morimoto naoki - Kisui
05.  Pruski - Last Particle (feat. Tomasz Mreńca)
06.  Christopher Bissonnette & Wil Bolton - Overcast
07.  Runaway Horses & Valotihkuu - Timeless Beauty
08.  Akhira Sano - Grain Culture
09.  Ned Milligan - Sky Smokes & Electronics
10.  Sonmi451 - Hyperbole


414. Sleepy Sunday Podast (Elm Records)

prepared guitar - 3_8_20, 7.42 PM

Every time, next time - 24.03.25

Este proyecto parte de una anotación en el primer movimiento de la partitura “Annum per Annum” de Arvo Pärt, donde se indica al organista que debe apagar el motor del órgano mientras toca. Así, el sonido emana o aflora a medida que el instrumento muere. Tal como señala Morton Feldman, el desvanecimiento del sonido es un paisaje que se aleja. Esa caída es la que expresa en qué lugar de nuestra escucha existe el sonido: abandonándolos, en lugar de aproximándose a nosotros.

En el primer movimiento “Annum per Annum” se oye una masa de sonido muy rotundo que, poco a poco, va perdiendo energía y se desvanece: ese gesto encapsula un vitalismo inaprensible, así como la noción de lo sagrado como imágenes paradójicas que a menudo afloran en base a la ausencia. Este tipo de contradicción se muestra también en la propia mecánica y simbología del órgano de tubos: elementos que aspiran a representar la inmortalidad mediante una respiración continua pero que, al tratarse de un ejercicio imposible –sobre todo cuando se le insufla aire manualmente–, subrayan estos instrumentos como metáforas que ponen en valor la fragilidad de la vida y la cadena de interdependencias que permiten sostenerla. El órgano es capaz de respirar gracias a la respiración trabajosa de la persona que acciona el fuelle.

El proyecto se conforma con una interpretación de estos desvanecimientos a través de la realización de una instalación compuesta por dos piezas, una de vidrio soplado y otra de audio. Para la creación del audio, se realizaron grabaciones del primer movimiento de la obra de Pärt en el órgano Chavarría (s. XVIII) de la iglesia de San Juan Bautista de Marchena (Sevilla) y el órgano Liborna Echevarría (s. XVIII) de la iglesia de Santa Marina la Real (León), este segundo con un fuelle manual tocado por mí. La composición de la pieza sonora se sirve de los segundos en los que la progresiva desaparición del aire se hace más evidente, editando un audio en base a la repetición irregular de las diferentes caídas del sonido. La creación de los elementos cristal están limitadas a la utilización de un soplido por cada una: se fue dando forma con el aliento y, aún candentes, se sumergieron en agua, como la traducción del apagado –mecánico, abrupto– del motor del órgano en la partitura. Los cristales se disponen sobre una peana de madera de pino que actúa como resonador del audio, emitido mediante altavoces de contacto.

“To fill a gap” forma parte de "Una distancia insalvable", una exposición en la Fundación Cerezales Antonino y Cinia comisariada por Joaquín Jesús Sánchez.

to fill a gap

Reflexion. Repetition. Meditation…Pictures are taken every second about a stream, each photo has a changing variety and carries the signs of passage of time, constant change and Dynamism.

The sight and sound produced by the hypnotically swirling and flowing water creates an environment for relaxation, where reconnection with nature and ourselves happens on another level. The presence of nature gives vitality and meditation a sigh of relief.(*except for the biological dangers that make us sick*) A play with the lengths of pages resulted in the kinetic energy and overlaps the glitch/noise aspect of the book, as a „3D immersive viewing system/display”. Can I fool your mind to get a similar experience as the original would give?

Flow.. ~

FOREVER WAITING...
[created for the Words on Music course with Kate Molleson and Peter Meanwell at the Darmstadt Summer Course 2023]

A tram ride to Darmstadt’s Lichtenbergschule turns into a journey of reflecting how passports control one’s mobility. An encounter with Filipino visitors, weekly protests at Luisenplatz on Iran’s atrocities, and flipping passport pages disrupt a daily life of church bells, audible traffic lights, and utility shortwave transmissions – Cedrik Fermont likewise tells stories that challenge assumptions about how we know the world. The tram ride stops midway, migrants reach the border. They are left waiting if they can pass through...

Languyin mo ang ilog;
Magilas ang kabayong hubad!
Naghihintay sa wala.

(Swim by the river;
The naked stallion shows off!
Waiting for nothing.)

Credits:

Cedrik Fermont – narration
Juro Kim Feliz – Tagalog haiku

Additional recordings:
Frau Leben Freiheit protest on 16 August 2023 at Luisenplatz, Darmstadt
conversation with anonymous Filipino couple

ewig warten… (forever waiting…) [2023]

In this piece, I invite listeners into a shifting landscape of sound, where the boundaries between indoor and outdoor spaces begin to blur. Through the layering and transformation of real-world recordings, I explore how sound can shape our perception of time and space. The piece unfolds like a dream—sometimes grounded in familiar textures, other times drifting into abstract atmospheres. My intention is to create a sense of movement, immersion, and emotional depth, allowing the listener to travel through both physical and imagined environments in an intimate and contemplative way.

Echoing Realm

In this piece, I combined some recorded sounds with my own creations to express a feeling of scale and weight. Natural and mechanical sounds are blended with tones I designed, unfolding gradually and connecting with each other.
I wanted the sounds to feel coherent, with movement and changes, like telling a story without words. For me, this piece is an attempt to get closer to certain feelings through sound, and to imagine shapes and spaces through listening.


Tonal Gravity

(っ◔◡◔)っ ♥ Edinburgh community radio ♥

𝓵𝓲𝓼𝓽𝓮𝓷 𝓵𝓲𝓿𝓮: www.ehfm.live
𝓰𝓮𝓷𝓮𝓻𝓪𝓵 𝓮𝓷𝓺𝓾𝓲𝓻𝓲𝓮𝓼: hello@ehfm.live

the snake eating it's tail

harsh vaporwave ; )

I always seem to be working on something musical, this is where the best results of ongoing experiments work their way out into the world.

Until the next phase is through, this will be an incubator only.

Sounds like a Book is a book-making and self-publishing platform that addresses those interested in the book as a medium of artistic expression. As the chosen name suggests, SLB focuses on the visual transmission, conversion, and representation of the sound.

With a mission to push the boundaries of what can be heard, monoyama presents captivating creative digital aesthetics and immersive sounds that expand perception and immerse listeners in new sonic experiences. From complex textures to minimalist arrangements, monoyam's creations challenge conventional norms, spark curiosity, and inspire self-reflection.

I’m Wenxi Song, a postgraduate student in Electroacoustic Music and Interactive Media at the University of Manchester. My work explores the relationship between electronic composition and experimental sound design, often blending organic recordings with synthetic textures. I’m particularly interested in creating immersive listening experiences that connect the natural and the artificial, and in discovering new ways to shape sound through both emotion and innovation.

Juro Kim Feliz, b. 1987.

“His music thrives in the sustained tension, like the kinetic energy emanating from the corners of a frame, the opposing forces holding up a house.” (Musicworks, 2022)

Toronto-based composer Juro Kim Feliz has internationally presented his work across Southeast Asia, North America, and Europe. Born and raised in the Philippines, he studied composition at the University of the Philippines and McGill University under Jonas Baes and Melissa Hui. He also sought further mentorship from composers Liza Lim, Dieter Mack, Linda Catlin Smith, Katharina Rosenberger, and Japanese koto artists Hiroko Nagai and Masayo Ishigure. Since winning the Goethe Southeast Asian Young Composer Award (2009), he collaborated and received commissions and performances from artists including Continuum Contemporary Music, Thin Edge New Music Collective, Liminar, Ensemble x.y, Marilène Provencher-Leduc, Guy Few, Wesley Shen, and Renee Fajardo.

Feliz was awarded “Highly Commended” distinctions for "Hanggang sa Paglubog ng Araw" and "Kinalugarán" at the Ars Electronica Forum Wallis (2018, 2024) and was nominated for the “Excellence Award in Music and Entertainment” at the Golden Balangay Awards (2019) in Canada. Alongside serving as the composer-in-residence of Toronto-based New Music Concerts (2022-2023), he also completed artist residencies at the Brush Creek Foundation for the Arts (2018), Kimmel Harding Nelson Center for the Arts (2019), and the Canadian Music Centre Ontario Library Residency (2018-2019). His music appeared in concert programs for the Yogyakarta Contemporary Music Festivals (2009-2010), Kuala Lumpur Contemporary Music Festival (2009), Asian Composers League Festivals (2009-2015), Music Biennale Zagreb (2017), New Music on the Bayou (2017), MATA Festival (2018), Nief-Norf Summer Festival (2018), MUSLAB (2018), and Cluster XI: Digital Edition (2020). Music releases include "Hanggang sa Takipsilim" in “Mind & Machine, Vol. 4” (Ravello Records, 2022), "Gandingan sa Kagiliran" in “Millennial Masters Vol. 7” (Ablaze Records, 2017), and synth-pop independent releases under the moniker “Grumpy Kitty Boy.” His works are published under Babel Scores.

Alongside composition activities, Feliz served as producer and co-host of the community radio talk show "Sigaw ng Bayan" at CKUT 90.3 FM Montreal (2015-2017). Under the Canadian Music Centre Ontario, he produced the article/podcast miniseries "Nomadic Sound Worlds" (2018-2019) that explores and situates Canadian contemporary music within present-day global migration. As a writer, Feliz has written feature articles for Musicworks Magazine since 2020.

Minerals Studio+ is a design studio and multi-media label for music that is forward-thinking, minimalist and direct. Established in the summer of 2016 by Andre Futrell, the label features cutting-edge artists, composers, electronic and acoustic musicians, visual and graphic designers, and vocalists which represent the depth and dimension of the “Soul Tech” movement. Inspired by nature, crystals and indigenous rhythms, Minerals Studio+ produces new palettes of soulful electronic sounds influenced by many genres. Futrell’s high-art aesthetic reflects his love for using sound as a healing medium to enrich people’s lives and cultivate an expansive worldview. 

For booking and additional details, contact mineralsstudio@gmail.com

Elm Records is an independent record label specialising in ambient and experimental music.

Aaja is a multi-purpose community radio station, event space and bar. Situated along Deptford High Street, the local cultural hub hosts an eclectic mix of radio hosts, DJs and events. Open since 2018, Aaja has provided a space that has nurtured and aided the growth of creative minds and groups within South-East London and beyond.
‘A unique hi-spec sound installation that’s non-intrusive, but heavy for the heads’ 

‘An authentic melting pot, dedicated to music and culture’

www.aajamusic.com

New tracks tagged #sound art