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"The primary instrument here is an empty industrial workspace, which funnels the sounds of the outside through a process of grand refraction. The offhand trills of tiny birds are gathered and stretched into the stirrings of an imaginary orchestra, while the murmurs of distant crowds are recast as choral hums that seep out of the building’s surfaces. Contact mics are attached to the walls, floors and windows – a process through which Vickridge inverts the typical depiction of industrial spaces as…
*2026 stock* A churn of electronic noise is flung into dialogue with the smeared and manipulated bleats of a seagull horn, the former like the grind of agricultural machinery, the latter like prolonged saxophone missives or doppler-arced racetrack noise. We encounter many moments like this throughout Stratigraphy: gushes of clashing colour, sudden illuminations of jagged edges. This is how Kate Carr and Cath Roberts resist the absolute fusion of their respective sound worlds, rekindling our awar…
*2026 stock* "One way to interpret Vernon’s evocation of Brussels is as a patchwork of interdependent absences. We hear numerous spoken stories, yet none of them in full; details are lost to magnetic erasure, to the truncations of compositional editing, to the recollective limits of fallible minds. A voice hesitates as it recounts an early memory of falling. Another falters into damaged tape as it describes a trip into the forest, words sunken irretrievably under disruptive plosives. Into these …
*2026 stock* In the rural terrain of Prespes, Greece, Viv Corringham emits a croak that mimics both a passing bee and the clucking of a distant chicken, straddling their sonic similarities, drawing both animals into unexpected kinship. In Muenster, Germany, she traces the undulation of air billowing through a train station, suddenly dragging the rhythm to the foreground of our attention. As with the first instalment of Soundwalkscapes, her voice is used to revive a “lost river”, this time focusi…