The Workhouse Southwell (National Trust Site)

In Oct 2020, during  the Pandemic and a brief lift of lockdown: Isabel was taken to visit Southwell Workhouse, and did a series of Binaural recordings. Working as soundartist and composer of a series of soundwalks, for groups of 6. Isabel's idea was to record the work, remaining physically distanced, by wearing clogs, the sound of the 3 women wearing clogs could be heard from the central quadrangle,  as they moved inside the building. Accompanied by Jan Overfield (education officer at The Workhouse,) who described the history of the building, and opened the doors during closure, for this work to happen. City Arts who commissioned Isabel to create the project. 
The Clogs were worn by female and male inmates, and children who were segregated from eachother. 
These powerful recordings give a sense of the seclusion of the site, its high walls, and stone floors, as we hear signs of life from the outside world, the odd bird singing, and the sound of a distant train leaving or arriving - we do not know - the isolation is complete.

Location recordings and Concept: Isabel Jones
Musicians 
Monopitch Ensemble: with text read by Isabel Jones 
Singers: Moira Smiley, Isabel Jones, Bronwen Jones, Gwilym Jones
Small Samples of Moira and Isabel's voices were taken from waste audio materials, developed in the process of making Corrosion: Salamanda Tandem in 2004. Originally a commission awarded to Isabel Jones from Opera North, and later produced as an album by Isabel Jones and Duncan Chapman 

A chilling description taken from the Historic England Archives giving the plan for the original Southwell Workhouse building

REFERENCES
https://historicengland.org.uk/listing/the-list/list-entry/1001591
Rev J T Becher, The Anti-Pauper System, Exemplifying the Positive and Practical Good realised by the Relievers and the Relieved under the Frugal, Beneficial and Lawful Administration of the Poor Laws Prevailing at Southwell (1828; 2nd edn 1834) CKC Archaeology, Archaeological excavations in the garden area, Thurgarton Workhouse, (report for National Trust, February 1999) K Morrison, The Workhouse, a study of Poor-Law buildings in England (1999), pp 36-42, 208, 231 National Trust, The Workhouse, Southwell Garden Conservation Plan, (unpub report, March 1999)

Maps Enclosure map for Upton parish, c 1795 (EA 1/1/1-2), (Nottinghamshire Record Office) [copy in National Trust Report 1999] G Sanderson, Round Map of Nottinghamshire showing the post towns and trading towns 20 miles around Newark, 1835 [copy in National Trust Report 1999] Nottinghamshire County Council, Southwell County Institution Block Plan, 1929 (XBP/38/1), (Nottinghamshire Record Office) [copy in National Trust Report 1999]

OS 6" to 1 mile: 1938 edition 1955 edition OS 25" to 1 mile: 2nd edition published 1898 3rd edition published 1915

Archival items An extensive collection of archival material is deposited at Nottinghamshire Record Office, including the accounts (NA DDX 70). Workhouses file no 100716, (National Monuments Record, Swindon)

Description written: January 2002 Amended: April 2002 Register Inspector: SR Edited: April 2002

Southwell Workhouse: Plan & Clogs Isabel Jones

https://repeater-radio.com/shows/crazy-stitch/

1               Maja Osojnik & Maiken Beer Blende #01 (04)
2               Demdike Stare & Kristen Pilon              They Say To The Mountain
3               position normal              And I Muddled All The Ins
4               Coil        A White Rainbow
5               Nina Garcia      Ballade des souffles
6               David Grubbs Later in the Tapestry Room
7               Rafael Toral      Spectral Evolution
8               V&Z        Jazz for Women
9               Seo        The Ghost
10            Rome Streetz,Futurewave,Ransom Sage or Gunsmoke
11            Roc Marciano & The Alchemist            Trillion Cut (feat. Boldy James)
12            Galmen                Raining stones
13            Dave Kelly          Showtime Riddim
14            Doechii                Nosebleeds
15            João Donato    Cala Boca Menino
16            Time Cow           05. GUNS DRUGS AND 800 PARROTS
17            Milan Knizak    Broken Music, Pt. 3
18            Robert Turman                Fatties Moonwalks
19            Colin Webster                  In Rama
20            Babe Ruth         The Mexican (Edit)
21            Okay Temiz       East Breeze
22            DJ Black Low,DJ Saxo Boy       9 Days feat. DJ Saxo Boy
23            Neronphase    Here we go again
24            Lyra Pramuk     Vega
25            Leikeli47             Wash & Set
26            TAAHLIAH          Eylvue
27            Starlito,Bandplay          Ain't Going
28            Jules Reidy        Interlude I
29            Pierre Bastien & Casper Van De Velde            L'interstice
30            Dorothy Carlos               Balm
31            Milkweed            Exile of the Sons of Uisliu
32            Alabaster DePlume     Invincibility
33            Jenny Hval         To be a rose
34            Cormac Mac Diarmada            Iníon an Fhaoit’ ó’n nGleann
35            Ida Cox                 Death Letter Blues

DVD presents Crazy Stitch (live) | #156 02282025

This was my contribution for Disquiet Junto Project 0687: Applied Science. 
The Assignment: Record a piece of music that explores physiological and behavioral techniques.

Here’s a copy of my post on the Disquiet Junto 0687 discussion thread on Lines:

I interpreted “physiological” by using looping sequences, created with Slate+Ash Cycles in Ableton Live. 

The “behavioral” is represented with notes and sounds played off-grid using a MIDI keyboard using Slate+Ash Spectres. I tried to give a sense of consciously playing along with the pattern but in a freeform almost casual way. 

Hopefully, both these concepts somewhat came across in this track. Image by Scott Webb via Unsplash.

More on the 687th weekly Disquiet Junto project, Applied Science — The Assignment: Record a piece of music that includes physiological and behavioral techniques — at https://disquiet.com/0687/

Stretching Skid Ladders [disquiet0687]

Poesía sonora que trata sobre el constante viaje del alma a través de sus diferentes niveles para alcanzar la fuente de lo absoluto.
Todo comienza con tres sonidos apocalípticos que podemos identificar como si de un fin se tratará, siendo en realidad: un nuevo comienzo. Cada instante de nuestra existencia, cada latido de nuestros corazones, perecemos y renacemos.
Después de éstos sonidos aparece una adolescente vestida de blanco, cargando en su mano derecha una muñeca y caminando con pasos hacia atrás hasta desaparecer. Ésta representa el Alma retornando intuitivamente a su raíz.
El Alma en esta senda debe viajar a través de varias dimensiones en las que se topara con un sin fin de obstáculos, refracciones y ofuscamientos. Esto lo podemos percibir través del sonido de los pasos de los pies así como las diferentes danzantes. Todos éstos gravitando en torno a lo primero y lo último
Y cómo con tan solo el sonido de un soplo todo comenzó, con este mismo concluyó.

Cada instante de mi existencia
Siento el ritmo de la compasión
Cada dilatación y conmoción,
Emerge el soplo del despertar.
Extraña rutina;
Muerte y resurrección
Cada latido de mi corazón perezco y rebroto
Y de una forma u otra vuelvo a florecer
Aunque sueño con el día en el que se agote la rutina
El día en el que una flor permanezca abierta
Y sienta el último soplo de la renovación.
(El Soplo compasivo por, Mithea D.)
--------------------------------------------------------------------

Cette poésie sonore nous mène vers un constant voyage de l'âme à travers ces différents niveaux pour atteindre la source du ‘‘Tout’’. La création commence avec trois sons apocalyptiques, comme s'il s'agissait d’une fin, et n'étant en réalité qu'un nouveau départ. À Chaque instant de notre existence, à chaque battement de nos cœurs, nous périssons et renaissons. Après ces sons, une adolescente vêtue de blanc, portant dans sa main droite une poupée et marchant en arrière apparaît et disparait. Cela évoque, l'âme retournant intuitivement vers ses racines. L'âme sur ce sentier doit voyager à travers plusieurs dimensions dans lesquelles tombe sur d'innombrables obstacles, réfractions et obscurcissements, lesquels on peut les percevoir à travers les sons des pieds et les différentes danseuses. Tous gravitant autour du ‘‘Première’’ et du ‘‘Dernier’’ son, c'est ainsi que d'un seul son, d’un seul souffle tout a commencé, avec celui qui de même tout conclu.

À Chaque instant de mon existence
Je sens le rythme de la compassion.
À Chaque dilatation et secousse,
Émerge le souffle de l'éveil.
Étrange routine;
Mort et Résurrection.
Á Chaque battement de mon cœur
Je péris et repousse,
Et d'une certaine manière ou d'une autre
Je reviens fleurir.
Alors Que je rêve au jour où cessera la routine
Le jour où une fleur restera ouverte
Et sentira le dernier souffle du renouvellement
Le souffle de la compassion. Par Mithea D.)

Dimensiones de una muñeca

Eine Möglichkeit, Angst in etwas Klangvolles zu übersetzen, schenkt mir die elektroakustische Spontanimprovisation mithilfe von Analog-Synthesizern, meiner Stimme, diversen Geräuschquellen und Computer-Effekten. Improvisation bedeutet für mich das Ausblenden musikalischer Kategorien und das absolute „Im-Jetzt-Sein“ – frei von jeder kompositorischen Absicht. Es geht mir darum, eine Gefühlslage unmittelbar in Klang, Laut und Geräusch zu übersetzen, wobei das Zusammenspiel von Quellen und Effekten für mich stets unvorhersehbare Ergebnisse bringt, auf die ich in der Situation improvisierend reagiere. Ich weiß also nicht vorher, welche Sounds am Computer entstehen, sondern erlebe dies im Tun.
In Anspielung auf Baudelaire nenne ich die hier entstandene Klanglandschaft „Les Fleurs de la Peur“. Dies ist auch ein kleiner Rückgriff auf meinen 2012 veröffentlichten Lyrikband „panik · blüten“. Das ca. 15minütige Klangstück ist auf Soundcloud (aktuell kostenlos) hörbar.


Les Fleurs de la Peur

vactrolog - buchla afternoon
made with buchla 200 
lenght: 35:05 
recorded in summer 2023
mastering & production by Thomas Breuer	
cover by Thomas Breuer	

buchla afternoon

Sound installation on war and trains. A recording on cassette was violated. The FM synthesizer really tried to sound human. 

Strategier för att blunda (demo)

Soundtrack for VR Expierience Projekct ROAMance

Artefacts

Recorded, mixed & mastered on 07 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA & Union Square, NYC, USA. 

Tenor sax, photo theremin, reverb, echo. 

Drawing/Photography - Jim Lemanowicz, 9 Apr 2018, Massapequa, NY, USA

©2025 Jim Lemanowicz

---

This original version of “The Reason That Nobody Cares About” was submitted as part of Disquiet Junto Project 0688: Sign Up. The Assignment: Interpret a routine public sign as a musical instruction.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 688th weekly Disquiet Junto project, Sign Up — The Assignment: Interpret a routine public sign as a musical instruction — at https://disquiet.com/0688

The Reason That Nobody Cares About (disquiet0688)

Performed at the opening of the installation "Sleeping Memory" presented by Leonid Zvolinsky.

Fuel (feat. Leonid Zvolinsky)

Recorded, mixed & mastered on 07-08 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. 

Tenor sax, photo theremin, reverb, echo. 

This original version of "Physics Tape Parade" was submitted as part of Naviar Haiku 583, Out Of The Blue.

out of the blue
of early morning light:
a paulownia leaf

by: Ōshima Ryōta

Ōshima Ryōta was a Japanese poet of the Edo period. Some sources say he was a disciple of Yosa Buson, while others say his master was Hattori Ransetsu. He's mostly remembered for his essay “Bashō ku kai” 芭蕉句解 ('Study of Bashō's haiku') published in 1759, a magnum opus of his studies and literary theories on Matsuo Bashō's work.

Drawing/Photography - Jim Lemanowicz, 9 Apr 2018, Massapequa, NY, USA

©2025 Jim Lemanowicz

For more about the Naviar Haiku Challenge, see https://www.naviarrecords.com/haiku-music-challenge

Physics Tape Parade (naviarhaiku583)

"Biophilia” è un’indagine artistica che immagina un mondo post-antropocentrico, in cui uomo, macchina e natura non sono più entità separate, ma parte di un unico organismo interconnesso. L’opera esplora la possibilità di una coesistenza simbiotica, superando le logiche di sfruttamento e dominio, per creare un ambiente in cui la tecnologia non sovrasta la natura, ma evolve armonicamente con essa.

L’esperienza è immersiva e sensoriale, trasformando il pubblico in parte attiva di un ecosistema sonoro in continua mutazione. Qui, la macchina non è più strumento di potere, ma un’estensione del vivente: percepisce, si adatta, risponde. Il risultato è un paesaggio sonoro vibrante, un flusso dinamico in cui ogni suono – digitale, animale, organico – dialoga con gli altri in un equilibrio costante.

La composizione sonora si articola in diverse sezioni, collegate da transizioni fluide e cambi di sonorità, per riflettere l’evoluzione naturale di un ambiente vivo. Il tessuto sonoro è costruito attraverso un’interazione continua tra elementi meccanici e biologici:
	•	Ritmi percussivi ibridi, che combinano pattern meccanici con suoni digitali, generando vibrazioni telluriche.
	•	Field recording di macchinari industriali e glitch elettronici, modulati e trasformati per creare texture sonore che suggeriscono una materia in costante evoluzione.
	•	Pad eterei e armonie sospese ottenuti con sintesi granulare, che trasformano suoni naturali (vento, acqua, vocalizzi animali) in ambienti sonori quasi corali.
	•	Frequenze isocroniche e modulazioni sonore ispirate a pattern biologici, che evocano la crescita delle piante o il movimento di uno sciame. Voci umane decontestualizzate, armonizzate con suoni di origine animale per dissolvere i confini tra le specie.
L’opera si sviluppa attraverso un’alternanza di passaggi graduali e cambi bruschi, simulando i processi di trasformazione propri della natura. Il suono si espande e si contrae, seguendo un flusso vitale che non è né lineare né prevedibile. L’uso di filtri dinamici permette di far emergere, in momenti diversi, l’elemento tecnologico e quello naturale, mantenendo un interplay costante tra i due.
“Biophilia” non contrappone organico e artificiale, ma li fonde in un unico respiro, invitando l’ascoltatore a percepire la tecnologia come parte di un ecosistema vivente. È un’esperienza che supera la dicotomia tra natura e macchina, per suggerire un futuro in cui tutto esiste in una relazione di equilibrio e risonanza.

BIOPHILIA

1st week participating in an 8-week challenge to produce new music every week! 

I brainstormed intentions (to be more playful, experimental and less perfectionistic in what I write, and to try to surprise myself with what comes out), and a big list of titles I like before the challenge begun.

For week 1, I picked the title "Can I Be Your Squishmallow?"

I made a painting using the title as inspiration. 

Then I tried to translate the painting into music by writing and recording this track. 

I jumped on a video call with other music producers (makes it more fun than doing it alone!), set a timer for 1hr to see what we could come up with, sharing a sample I recorded of a train arriving at Melbourne Central station as our starting point. After one 1hr was up, we all listened to what we all came up with. Always so inspiring hearing how different people create such different things from the same starting point! 

Had a break, then later spent another hour or two finalising my arrangement, automation, mixing. (Part of this challenge for me is getting more comfortable working quickly, executing the idea, and moving on to the next thing. Otherwise I can work on it forever and never finish it.)

What do you think, did I succeed, does the music sound like the painting?

--

Found sounds I used: 

My starting point was a recording I made on my phone of a train arriving at Melbourne Central train station (chopped up and processed into little bits used throughout, first appears in the intro). 

Other found sounds that also appear: 
- bell that sounds on the metro train in Melbourne just before doors close
- sound my kettle makes when you press the button to open it to put more water in it (choruses)
- an annoying security announcement at a factory I walk past sometimes "attention please..."
- bells from a train level crossing (repitched slightly higher, appears 3 x in each chorus)
- a creaky hospital bed trolley being wheeled past (repitched slightly, appears in the chorus, sounds a bit like a rattle)
- a struggling bus bell that sounds when people press the button to get off at the next stop (used in the pre chorus)
- breeze rustling through dry leaves on a young tree that I heard on a hot summer night's walk (used as texture in the verses - examples at 0:10 and 0:26).

Can I Be Your Squishmallow?

archivecore, ambient, dark ambient, lofi, vaporwave, dreampunk, soundscape, hauntology, experimental, glitch, nostalgia, lo-fi music, electronic, post-internet, cyberpunk, future past, datamosh, tape hiss, ethereal, dream electronics, ghostly sounds, field recording, sound art, retrofuturism, obscure audio, memory wave, lost media, analog, ghostwave, memorycore, found footage, distorted, dreamcore, hypnagogic, liminal, tape ambient, forgotten, eroded, old tech, faded, time capsule, obscure, warped, slowcore, cinematic, post-vapor, lo-fi breaks, fractured sounds, experimental ambient, psychedelic, dystopian, post-digital, artificial nostalgia, night drive, forgotten future, synthscape, cinematic ambient, synthwave, retrowave, haunted tape, VHS dreams

Вернуть (prod. rayx)

Recorded, mixed & mastered on 13 Mar 2025 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa, USA. 

Chair & effects

Photography - Jim Lemanowicz, 1 Apr 2017, Hecksher Park, Huntington, NY, USA

©2025 Jim Lemanowicz

---

This original version of “Mechanical License” was submitted as part of Disquiet Junto Project 0689: Supporting Players. The Assignment: Elevate the presence of your non-instrument equipment.

More on the Disquiet Junto at: disquiet.com/junto/

More on the 689th weekly Disquiet Junto project, Supporting Players — 
The Assignment: Elevate the presence of your non-instrument equipment — 
at https://disquiet.com/0689/

Mechanical License (disquiet0689)

vactrolog - kleinod
made with the serge synthesizer
recorded in spring 2025
mastering and production by Thomas Breuer
artwork by Thomas Breuer

kleinod

Written on the anniversary of the death of my father.

Uses many found sounds I've recorded at various times on my phone, including a lot in the kitchen when I was trying to distract myself from big emotions: 

- starting point was eggs boiling in a pot on the stove, bubbling away
- boiled eggs hitting the side of the metal saucepan after they were cooked
- opening and closing a jar of my favourite jam
- teaspoon inside my empty coffee mug being bumped and scraping along the top edge
- the whirring of a motor on a sliding door at the chemist I went to a few days, revving up to open the door, and sound of customers in the background
- squeaky wheels of a maintenance vehicle at the botanic gardens 
- tram trundling along a busy street (recorded from inside as a passenger)
- squeaky tram doors opening like a person with asthma wheezing


Lyrics:

It is not your fault
You did all you could
It is not your fault 

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

You did all you could
You said all the things you should 
It is not your fault 

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

Loss like this is never easy 

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

Some things never feel good
It is okay to feel wrong
Some things never feel good
Doesn't mean you're not strong

Doesn't mean you're not strong
Doesn't mean you're not strong
Doesn't mean you're not strong
Doesn't mean you're not strong

2025_03_16 It's Not Your Fault

Host: Hannah Wirnsperger & Claude Bühler @candy_saendy
Space: Salon Vert @salonvert
Guests: Flurina Mia Häberli & Milena Patagônia

Salon Vert, ein Raummoment - oder was darin entsteht. Jeden dritten Montag im Monat findet ein Zusammentreffen von Künstler:innen, Ideen und Visionen von 20 - 22 Uhr auf Radio Stadtfilter statt; eine offene Versuchsanordnung, bei welcher auditive Sphären erschafft und erlebt werden. Es wächst ein Sammelsurium von Klängen - eine spontane Symbiose. Ein Moment des Eintauchens ins tönende Jetzt.

Experimentelle Nischengenres wie Spoken Noise, Narrative Drone, Dystopic Ambient und Klangkunst-Hörspiele treffen auf einen Dialog zwischen Künstler:innen und Kulturschaffenden über zeitgenössischen Feminismus und aktuelle popkulturelle Phänomene. In der Sendung werden ausserdem Lieblingskünstler:innen und neue Releases aus diesem musikalischen Umfeld vorgestellt, sowie in die Geschichte der Experimentalmusik und Avantgarde abgeschweift.

Der Salon Vert unterstützt DIY-Strukturen und queerfeministische Kollektive in der Musik und der Kunst und verstärkt deren Stimmen. Platz finden darum Aufnahmen von Artist Residencies, Soundperformances und anderen Bewusstseins- und Horizonterweiterungen.


Salon Vert: Flurina Mia Häberli & Milena Patagônia (16.02.2025)

Somewhere on the California Central Coast

Radio Stadtfilter ist das Winterthurer Kultur- und HörerInnenradio. In Informations-, Kultur, Talk- und Hintergrundsendungen berichtet Radio Stadtfilter über Winterthur und die Welt und sendet erst noch Tag und Nacht die beste Musik.

Mehr redaktionelle Inhalte (Radiobeiträge, Interviews, Reportagen, Stadtkalender, FCW-Zusammenfassungen, Rubriken, etc.) befinden sich auf dem Soundcloud-Account der Redaktion: https://soundcloud.com/stadtfilter

Brand new music made 2025, first cut demos.

Making music is about being surprised.
https://www.patreon.com/blisterpop
Linktree for more - https://linktr.ee/blisterpop

I experience creating and listening to my soundscapes as a form of meditation. Being in the here and now is decisive for this: the soundscape is an arrival. Finding a home in movement. My technique is one of complete improvisation - largely free of musical or compositional standards. Anyone who closes their eyes, who immerses themselves in this world with the help of a sitting or walking meditation, will embark on a journey. And if you allow yourself to take souvenirs from this world with you, you will have visual impressions that can easily be transformed into paintings or poems ...

instagram@sonosakana
#anbient#techno#lo-fi#synth

Salamanda Tandem exist to develop cutting edge contemporary sound / movement and sensory performance; in order to inspire and enable people, including disabled people, carers and people struggling with isolation or exclusion from all areas of society, to harness creativity in order to improve wellbeing, quality of life and that of people around us.

Salamanda Tandem are:

•	Thought leaders in creativity, and the engineers of wellbeing and participation.

•	Developers of socially engaged performance at the cutting edge

•	An ethical company

Salamanda Tandem’s original music has been a major part of the company’s artistic output for 30 years, and goes hand in hand with all our choreographic, visual performance, films, exhibitions and installations.  Sound Artists, movement and visual artists, technical enablers, and creators of site specific performance, come together to create Sensory & Socially Engaged interventions. 
Music has been produced, composed and performed by a number of wonderful musicians / singers / composers over the years, who have worked closely in collaboration with composer / singer / director / yogi / audio describer Isabel Jones for each project to produce a tailored and unique work. 
The variety and beauty of the music created is a testament to a deep understanding and synergy between Isabel and her collaborators - this site is an opportunity to listen to some of these works. 

Sound Artists and Composers in alphabetical order Include:

Tony Baker: Jazz Pianist/ accordion Player / Composer Corrosion 2004, Red Start 2006 The Water Tower 2011

Duncan Chapman: (musician / composer) Living Room 2002, Corrosion 2004, Ad Astra 2013, Quarry-osion 2013, White Cane 2014, 2016, 2018, West Bridgford Soundwalks Into Wellbeing 2016

Vivien Ellis (Singer Composer) (Dreams of Falling and Flying 1992, Light is My Reflection 1992, Light House 1996, Triptych 1999

Mark Ingleby (Composer) Callanish 1989,  Same Oranges Different Clothes 1992

Isabel Jones: Composer/singer/sound artist1989 – 2022 all projects, all collaborations

Gwilym Jones: sound synthesis for The Workhouse 2020, Pure Land 2021. Monopitch musician

Takashi Kikuchi (viola player / composer) White Cane 2014, 2016, 2018. Pure Land 2021

Mike McInearny (Japanese Flute / arranger) Triptych 2002

Dallas Simpson (Sound artist/ producer) Corrosion Album 2004: mastering, Sampler Magazine, 2018 articles on binaural recording, New Album produced bin-aurally by Dallas in ST Studio 2019

Biant Singh (Tabla Player/ improviser) Soundwalks Into Wellbeing West Bridgford 2016, 2017, and Canalside Soundwalks Into Wellbeing 2018

Moira Smiley (Singer Composer) Triptych 1998, Corrosion 2004

Dave Sturt (Bass player, producer) Soundwalk Into Wellbeing 2021

Other Singers:

Jeremy Avis (Singer) Triptych 1999
Aric Prentice (singer, choral leader) Triptych 2002,  Corrosion 2004
Naomi Line (Singer) Triptych 2002, Corrosion 2004
Briony Jones (singer) Triptych 2002, Corrosion 2004
Richard Lindsay (singer Triptych 2002, Corrosion 2004

• genuine handcrafted electronic poems from the old country • useless music for minor masses •
industrial ambience • colliding beats • noises from Gothenburg • brus & knaster •

modular synthesis / serge modular
experimental composition
live performance
sound installation

Radio from Repeater Books exploring philosophy, film, gender, music and politics from a radical Left perspective.  Hear more at www.repeater-radio.com

New tracks tagged #soundart