News from the Sonic Arts Network

SAN Expo 966
Scarborough - June 17-20 2005

Full Programme

Friday 17 June

Corner Complex, North Bay 7 till 1am
  • Kreepa vs Black Galaxy
  • Skeletor
  • Voiceless Public Jack Chorale
  • Minimism records presents Robomanuk
  • Minimism records presents Namke Communications
  • IMP

Saturday 18 June

Ergo Phizmiz Reconstructing Scarborough Saturday 18 – Saturday 25 June, Crescent Arts, the Crescent, Open Tuesday - Saturday 10am-1pm and 2-5pm

Justin Bennett Shelters for Scarborough Esplanade Gardens, South Bay - 11am – 6pm

University of Hull, Scarborough Campus, Performance Space 1. 10.30 – 11.30

  • Dan Cowley Beatless (8 channel)
  • Mark Pilkington Jigsaw (AV)
  • Hiromi Ishii Summer Grasses (6 channel acousmatic)
  • Mark Bokowiec, Julie Wilson-Bokowiec The Suicided Voice (voice & live electronics, AV)
  • Live Algorithms Group 10’ (live audio-visual performance)

University of Hull, Scarborough Campus, Performance Space 1. 12.15 – 1.15

  • David Berezan Styal (acousmatic)
  • Dithernoise AudioVision (live audio-visual performance)
  • Diana Simpson Zonohedra (acousmatic)
  • Edward Wright The Way I Saw It (violin and electroacoustic sound)
  • Robert Dow Black Ice (acousmatic)
  • Westborough Methodist Church 4.00 – 5.00
  • Mathew Adkins Cortex (acousmatic)
  • Mike Vaughan In Memorium…(layer2) – tribute to Eric Dolphy (bass clarinet and tape) (bass clarinet – Sarah Watts)
  • Diego Garro O Que A Menina Ouve (5.1 acousmatic)
  • Douglas Docherty The Father Floats Around the Mother (acousmatic)
  • Cesar Villavicencio Rhetoric and Free Improvisation (electronic contrabass recorder)

Westborough Methodist Church 6.00 – 7.30

  • Luke Styles Violin Motion (violin and live electronics) violin – Peter Shepherd
  • Alistair MacDonald Psychedelian Streams (acousmatic)
  • Martin Stig Andersen Sleepdriver (acousmatic)
  • Justin Bennett Cacerolada (acousmatic)


  • Coryn Smethurst Ellipsis (dancer and electroacoustic sounds)
  • Adrian Moore Dreaming of the Dawn (acousmatic)
  • Simon Hall Watitar (percussion and live electronics) (Bethan Jones – Percussion)
  • Peter Stollery Serendipities and Synchronicities (acousmatic)
  • Simon Emmerson Digswell Tapes 1 (shortwave radio and live electronics)
The Toby Jug, Cambridge Terrace 10.30 – 1am
  • Man from Uranus
  • Ninki V
  • Shigeto Wada/ Ed Kelly
Sunday 19 June

Esplanade Gardens, South Bay - Justin Bennett Shelters for Scarborough 11am – 6pm

University of Hull, Scarborough Campus, Performance Space 1. 10.30 – 11.30

  • Tim Godfrey The Real World (8 channel acousmatic)
  • Dave Lawrence & Abi Lake Periodic Breathing (live audio-visual performance)
  • Paul Archibold A Little Night Music (oboe and live electronics)
  • Lisa Whistlecroft GFAAW Silent Key (acousmatic)
  • Nick Melia, Matt Rogalsky Treatise on the Economy and Containment of Despair (guitar, voice, violin and networked electronics)
University of Hull, Scarborough Campus, Performance Space 1. 12.15 – 1.15
  • Orestis Karamanlis Domingo (violin, crystal glasses and electroacoustic sound) (violin – Tess Vellacott)
  • Daniel Barriero (Un)folding (acousmatic)
  • Duncan Chapman, Isabel Jones Cor/e(rosion) (live audio-visual performance)
  • Ewan Stefani Coldstone  (acousmatic)
  • Javier Garavaglia Ableitungen des Konzepts der Wiederholung (for Ala) (viola and live electronics)
  • Mark Caudrey Simulated Kinetic Energy (Cause and Effect) (8 channel acousmatic)
  • Installations to run on campus all day from 11.30
  • Bret Battey cMatrix 
  • Bernhard Loibner Fragmented Memory
  • Emmanuelle Waeckerle VINST
  • Geography of Nowhere The Dr. Lipton Papers
  • Colin Johnson Who’s Calling?
  • Johnny Pavlatos, Holly Inglton Imprint
  • Automated Noise Ensemble Taut
  • Stef Edwards – Typical Congress

Scarborough South Beach 3.00 – 6.00
Trevor Wishart’s  Beach Singularity

University of Hull, Scarborough Campus, Calvinos Bar 8.00 – 11.30

  • John Bowers/Phil Archer BabyRadio
  • Diffused Reflection
  • Thunderbolt
  • Listening Room to run all day on campus
  • AW Haznizam Solemn
  • Joanne Poulter Smashing
  • Dennis Wiehahn The Balance of Loss
  • David Watt Watt’s for Tea
  • Chetan Pancholi Insomnia – Time Travel
  • Tom Williams Break
  • Peter De Moncey-Conegliano Abstract Fourteen and a Half

Monday 20 June

Papers and research presentations

University of Hull, Scarborough Campus

  • Liz Green The Woman Sings: Aurality and Identity in the Sonic World of David Lynch
  • Mike Phillips Arch-OS: Operating System for Sonic Architecture
  • Tsai-Wei Chen A Nostalgic Soundscape of Taiwan: An Acoustemology of the London based Taiwanese sojourners’ auditory memories of homeland
  • John Drever Topophonics & Nostophonics: the role of sound in the golden era of British documentary film
  • Becca Laurence Sonic Postcards – A soundscape education programme
  • Phylis Johnson & Jay Needham She Heard/He Heard: exploring sound identity as a factor of gender and culture
  • Simon Emmerson Are You Really There? – Show Us The Evidence
  • Peter Buckley IMC – Interactive Music Controller
  • Paul Moore Landscope: The Meanings of Lough Neagh
  • Trevor Wishart Discussion of the composer’s site-specific participatory works



5 March - 16 April
Matt Cook - Stereography
BCA Gallery, Bedford

Whilst working in Bedford as artist in residence with BCA Gallery, Cook walked around the town to discover what makes it tick to create his own playful map of Bedford. Trees made from pencils spin majestically on cheap cassette players, toy aircraft are fitted with speakers and plastic people whizz around in circles. A small urban environment emerges filled with sound and images that capture the character of the town.

6 April
(live performance)
The Muse, 269 Portobello Road, London

A night of soundscapes, improvisation and sonic art featuring Tim Hooper, a sound artist working in areas between music and noise, Slow Sound System, Italian musician and artist E.G.Ø and [no.signal].

8 April
Christina Kubisch
The Old Fire Station, Oxford

Berlin based sound artist Christina Kubisch creates site-specific sound and light environments, sound sculptures and sound installations. Vent has commissioned Kubisch to map the hidden sound world of Oxford through electro magnetic technology. As well as attending the event itself, you can also experience a number of extraordinary sound journeys through the city by picking up a set of specially designed headphones from OVADA in Gloucester Green (by the bus station).

13 April
(live performance)
Meet Bar (formerly The Lifthouse), London

Presenting another selection of oddbeats, soundscapes & eclectic sounds - a packed night of experimental sound and music. Featuring the London debut of Italic, Mille Plateaux & Background artist Antonelli Electr. (real name Stefan Schwander, aka Rhythm Maker), combining pop with electronic minimalism. Also playing, We're Breaking Up (aka Michael Rodgers), Marc Knauer and DJ Tango Mango.

14-16 April
Lovebytes 2005
Sheffield, UK

Audio visual festival featuring live sets from, Francisco Lopez controls processed environmental recordings, delivering extremes of dreadful force and subtle aural edges.
Gullibloon is about sonification and visualisation of network activities. With purpose built graphics engines, Oswald Berthold, Wernfried Lackner and Andreas Pieper translate streams of internet data into 3D shapes, images and rhythmic noise. Thomas Koner presents NUUK, a work which fast-forwards through 6 months of ebcam pictures from Greenland and Finland and adds soundscapes.

(live performance)

The new album from Autechre "Untilted" is released on April 18th. Autechre will be on tour throughout April: (14) London (15) Glasgow (16) Manchester (17) Nottingham.

22 April - 24 April
All Tomorrow’s Parties
Camber Sands Holiday Centre

Yoko Ono plays this year's ATP festival, curated by Vincent Gallo.

25 April
Tony Conrad
UEA, School of Music, Concert Room

Tony Conrad was among the earliest "minimal” composers/performers and a giant of the American soundscape.
tel: 01603 508050 or 01603 628319



23 - 28 July 2005, Bretton Hall, Yorkshire Sculpture Park

Inspiration for everyone with an enthusiasm for new music

CoMA's award winning Summer School offers a friendly, non-competitive approach to contemporary music. A wide range of composition, improvisation and performance opportunities catering for all abilities, from complete beginners to experienced musicians and composers.

A celebration of new music-making! Performance, composition, concerts by visiting artists and much more: for musicians and composers at all levels.

An intensive 5-day course:


* Music written this year especially for CoMA by Piers Hellawell, John Paul Jones (of Led Zeppelin), Stephen Montague, Michael Nyman, Frederic Rzewski, and others

*Orchestral and ensemble sessions throughout each day, led by CoMA Music Directors Simon Foxley and Kieran O'Riordan

*Dedicated sessions for singers, pianists and percussion

*Late Starters Strings: music by J.S.Bach, Stravinsky, Shostakovich and Gorecki plus CoMA music workshops, orchestra and string sessions.

*Performance and technique sessions: Rolf Hind (piano), Sarah Leonard (voice), Damien Harron (percussion), Darragh Morgan (violin) and Robin Michael (cello).


*Call for Pieces recorded by Noszferatu in composers workshops led by Joe Cutler

*Composers in Residence Stephen Montague and Joe Cutler

*Composition and art led by composer Joe Cutler. The stimulus of the Yorkshire Sculpture Park to inspire exciting new works.

*Workshops led by Will Menter culminating in a sonic sculpture exhibition in the Yorkshire Sculpture Park (to be confirmed)

*State of the art electroacoustic composition with Robert Normandeau (to be confirmed)


*BMIC Cutting Edge Tour concert with Noszferatu

*First night performance featuring Darragh Morgan (violin), Mary Dullea, (piano) and Robin Michael (cello)

*Concerts featuring Damien Harron, Sarah Leonard and Rolf Hind

*Platform2005: opportunities for CoMA and other amateur ensembles to present their work

*Performances arising from workshops throughout the week


Royal College of Music

Recording Engineer

Salary £17,472 - £19,343 pa

Permanent position

The Royal College of Music is situated in South Kensington and provides specialised musical education and training at the highest international level.

click on


Scholarships for postgraduate study Music at the University of Sheffield.

The Department of Music at the University of Sheffield invites applications for studentships and fees-only bursaries for doctoral study. The awards are available for full-time study starting in September 2005.

We are able to offer:

One-year incentive Studentships (fees and maintenance) for students beginning a research-track Master's degree or MPhil/PhD. The value of the maintenance award is currently £8,100. Awards are only open to new graduate entrants to Sheffield who satisfy AHRB eligibility criteria and who also apply for AHRB funding through the Department of Music. Applicants should have, or be expecting to hold, at least a 2:1 degree (or equivalent) in a relevant field of study. Awards will be made on academic achievement and potential.

Fees-only Bursaries at doctoral level. Applicants should have, or be expecting to hold, at least a 2:1 degree (or equivalent) in a relevant field of study and will normally have completed an appropriate Masters degree by September 2005. Awards will be made on previous academic achievement and likely potential, and are open to overseas students as well as EU and home students. (Overseas students receive a bursary equivalent to 2/3 of the fees.)

Applications are welcome across the broad fields of music studies in which the Department’s staff specialise: composition; ethnomusicology; historical, critical and analytical musicology; music education; music theatre; musical folklore; performance; and the psychology of music. Dual supervisions will be arranged for applicants whose interests combine multiple fields.

To discuss your application please contact Professor Jonathan Stock

For more information please visit
Tel: 0114-222 0470 - Fax: 0114-222 0469
Email: Departmental Secretary, Jo Burrows -
Or contact the Secretary, Department of Music, University of Sheffield, 38 Taptonville Road, Sheffield, S10 5BR.

Closing Date for Studentship Applications: 8 April 2021
Closing Date for Bursary Applications: 13 May 2021


The Centre de Creation Musicale Iannis Xenakis (CCMIX) announces its 11th annual summer session. The course will take place Monday, July 4th through Friday, July 29th, in Versailles (Paris), France.

Faculty will include: Joel Chadabe; Trevor Wishart; Agostino de Scipio; Eduardo Reck Miranda and Gerard Pape. Individual studio work is at the heart of this program. New in 2005, the CCMIX announces an expansion into the visual arts. As part of the Summer Intensive, we will also offer a series of seminars and studio sessions on 'sound and image' led by Randall Neal and Ana Paula Portilla.

Consider a creative experience in Paris this summer. More information is available by email from Randall Neal, Head of Pedagogy.


Sonic Arts Network is seeking dedicated and reliable Event Assistants to help out with this year's Expo weekend in Scarborough June 17-20.

Consolidating the moves toward diverse programming and new audiences that are central to this event we will be reaching more public than ever before this year through free concerts, shows and public installations and performances.

This means we need support in the delivery of this, increasingly complex, event which has, at its heart, the presentation of Sonic Arts Network members work.

The Event Assistants role will involve liaison with artists and the public, providing assistance to the core Technical team and assisting the Production team as appropriate.

To express an interest in getting involved please drop an email with a brief CV to


Current developments in the cross media domain require innovative and new technologies to meet the challenges of the marketplace. The AXMEDIS conference combines the activities of the WEDELMUSIC conference series ( with the AXMEDIS consortium. The AXMEDIS consortium consists of leading European digital content producers, integrators, aggregators, distributors, and information technology companies and research groups involved in content production, protection and content distribution via different channels including interactive TV (i-TV), DVBT, DVBS, personal computer, kiosk, mobile phone, PDA and others.

This event seeks to promote discussion and interaction between researchers, practitioners, developers and users of tools, technology transfer experts, and project managers. AXMEDIS-2005 will bring together a variety of participants from the academic, business and industrial worlds, to address different technical and commercial issues. Particular interests include the exchange of concepts, prototypes, research ideas, industrial experiences and other results.

The conference focuses on the challenges in the cross-media domain (including production, protection, management, representation, formats, aggregation, workflow, distribution, business and transaction models), and the integration of content management systems and distribution chains, with particularly emphasis on the reduction of costs and solutions for complex cross-domain problems.

Topics of interest include, but are not restricted to, the following aspects:

  • Formats and models for multi-channel content distribution
  • Multimedia standards such as MPEG-7, MPEG-21, DMP, etc.
  • Legal aspects related to digital content
  • High quality Audio Video Coding
  • Multimedia Music representation and formatting
  • Watermarking and fingerprinting techniques
  • GRID and Distributed systems for Content production
  • Multimedia Middle Ware
  • Workflow management systems
  • Web services for content distribution
  • Distribution with P2P architectures
  • Semantic Web and P2P
  • Collecting and clearing of rights and licenses
  • Formats and tools for Content Aware
  • Archives managements for cultural and educational applications
  • Digital Rights Management (DRM), models and tools, and interoperability
  • Synchronisation technologies and solutions
  • Business and transaction models
  • Systems and approaches for content production/distribution on demand
  • Digital Content User Interface
  • Digital Content accessibility
  • Payments model
  • Novel applications and case-studies of relevant technologies
  • Automatic cross-media production, gathering, crawling, composition, formatting, P2P

RESEARCH PAPERS (long and short): Papers should describe original and significant work in the research and industrial practice of related topics. (i) Research studies, applications and experiments are particularly welcome. Papers should be limited to 8 pages in length. (ii) Shorter papers on work-in-progress, interim results, advanced topic position paper are also welcome. Submissions should be limited to 4 pages in length. Document style can be found at the conference website. Accepted papers will be published in the conference proceedings.

APPLICATIONS and INDUSTRIAL Presentations: Proposals for presentations of Applications and Tools are welcome. These include reports on the application and utilisation of tools, industrial practices and models, or tool/system demonstrations. A summary of up to two pages of accepted proposals will be published in the conference proceedings.

PANELS, WORKSHOPS and TUTORIALS: Proposal for panels, workshops and tutorials are invited - please contact for details. AXMEDIS and other Tutorials will be hosted.

ALL submissions and proposals have to be written in English and submitted in PDF format via email to by 10 April 2021 (extended deadline) . The conference proceedings are published by the IEEE Press. Selected papers from the conference will be considered for publication in special issues of one or more major peer-reviewed Journals in this domain.

For electronic submission please follow this link. In any case send a confirmation email to

VENUE: Convitto della Calza, Oltrarno Meeting Centre, Piazza della Calza, Florence, Italy ( ).


Paper submission:
10 April 2021 (extended)
Notification of acceptance:
20 May 2021
Camera ready:
15 June 2020


Proposals for presentations/papers related to the study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the study of music, architecture, interior design, dance, theatre, and the visual arts are welcome. Abstracts of approximately 200 words should be submitted for evaluation. All proposals will be judged based on scholarly quality, originality and potential for further discourse.

Please submit proposals electronically in Microsoft Word format to James Rhodes, Jacksonville University USA ( and Jane Lily, West Valley College, Saratoga, California USA. Abstracts may also be submitted electronically using the form provided on the website.

Accepted papers of participants will be published in the Conference Proceedings of the International Institute for Advanced Studies in Systems Research and Cybernetics. Please be aware of the following dates:

April 15 200 Word Abstract due
April 22 Notice of acceptance
May 1 Conference registration and fees due
July 15 Final paper due

CALL FOR WORKS AND COMMISSIONS 2005 has secured a series of exhibitions for interactive audio visual art and net art for later in the year. These venues include Watershed Media Centre, Bristol and Dana Centre, London and Folly In Lancaster.

We are inviting contributions of new work for the 2005 series of events and for the website. We are interested in audio visual work by artists using the internet as a medium and using internet friendly programming technologies such as shockwave, flash and vrml. We are looking for contributions of audio visual interactive works, net art, music and art software, generative music, interactive environments and essays. If you make interactive installations, new interfaces, navigation control, new displays, these are also eligible so send in documentation.

Work will be featured on the website and selected works made into offline presentations at selected galleries. A CDROM is also planned, representing audio visual art and media from 1998-2005, so please send in your work.

There is an online submission area on the website Please go to and use the online form - zip up your work and send in all related information.

Deadline: April 20 2005


Arts Council of England is funding a series of commissions.

1. We are looking for artists to make proposals for new interpretations of the artworks on All the work is held online in a database. We want artists to create innovative front end interfaces to connect to the rest of the site. No technology is excluded and all ideas will be considered. Things that might be suitable as suggestions could be a text searcher to link to the Soundtoys journal and bring up texts about Soundtoys, a 3D space to connect to the online artist’s works or you could make a selection of works you like and make an interface to control and access them. Technologies that you could use can be anything that will work on the web such as flash, shockwave, processing, java, html, etc. These interfaces can be as experimental and audio visual as you want. To apply, please send in a clear proposal that includes how you would make it, your technical expertise, and a budget. Some sketches, ideas, and links to other works you have made would also be helpful. We have a budget of £6000 about (12000 dollars) to make 4 - 6 commissions. Deadline 20 April.

SEND IN VIA EMAIL your proposal, ideas, sketched and technical expertise.

2. Soundtoys is also putting together a CDROM which will feature artworks from the past five years. We are looking for a proposal from someone who can make the interface for the CDROM for the artworks. We want an interesting audio visual interface to control and connect to the works on the CDROM. Anyone interested should send in sketches and a proposal, and examples of previous work. We have a budget of 1000 pounds or 2000 dollars to make the design and interface. Deadline 20th May


The Harvard University Studio for Electroacoustic Composition is proud to present its first INTERNATIONAL COMPOSITION COMPETITION FOR LIVE ELECTRONIC MUSIC.

An international jury will evaluate all works that arrive before the deadline (September 15th, 2005) and will select up to six works to be performed during the Fromm Players at Harvard Concerts, March 6 through March 12, 2006. The six finalists will participate in a week-long festival, work with the performers, attend workshops on all six pieces and participate in several pedagogical events along with the composition students at Harvard University and the jury members. The final concert will be on March 12th, at which time the jury will award one grand prize. The competition will cover flight and hotel expenses for the six finalists.


We invite submissions of new works (written after January 1, 2021) incorporating two to four live performers and live-electronics by composers born after January 1, 1965. The live performers should be drawn from the following list: soprano (voice), flute, clarinet, violin, violoncello, piano.

Although there is no strict limit to duration, pieces between ten and fifteen minutes are encouraged. The work submitted may have been performed in concert. However, it must not have been released in recorded form and must not have been awarded a prize before September 15, 2005. If a recording exists, it may be sent along with other materials, but recordings are not required.


This year, the live electronics focus is on the creative use of Max/MSP or PureData. The composition may make use of sixteen output channels and will be diffused during the concert on the Hydra Diffusion System (24 loudspeakers). A complete, functioning patch containing all necessary elements and an explanatory note for its use should be included in the application together with the score.


The workshop will be an open platform for the exchange of ideas between composers and performers, emphasizing the practical issues raised by performance of live-electronic music. The six selected compositions will be rehearsed as a part of this workshop. There will also be lectures given by the jury members.


Applicants are invited to submit one composition. There is no entry fee. Student works are highly encouraged.

Selected works will be announced by November 1, 2005. Composers whose works are selected for the final workshop and concert are required to attend the entire week of March 6 through March 12, 2006. Should a composer be unable to attend, their work will not be presented. Selected composers must send parts by January 3, 2021 and a photo (free of copyright). The decisions of the jury are final.

* Submissions must arrive before September 15, 2005.
* Include THREE COPIES of the score, the materials for the live-electronic part, and any further documents pertaining to the submitted piece.
* Include a completed entry form (available for download at
* Include a program note and a biography of the composer.
* Materials will not be returned and will become the property of the HUSEAC archive.
* The competition will not pay for any postage fees or customs duties.

Harvard University Studio for Electroacoustic Composition
Department of Music
Music Building, North Yard
Cambridge, MA 02138–2001



Kirsten Lavers, Cris Cheek, (TNWK) and Simon Keep invite sound artists(including writers, poets, visual artists, musicians working with sound) to submit work for a short range FM and internet radio event in late May and early June 2005.


RADIO TAXI  is a Taxi Gallery narrowcast and webcast initiative. Taxi Gallery is literally a black cab situated in a council estate on the outskirts of Cambridge, England. Since Sept 2001, over 25 different artists have made new works in response to the specific context offered by the gallery and its location. Taxi Gallery is a project
that reaches for an extended conversation with local, national and international audiences (via its website) in response to a broad range of challenging contemporary artworks, approaches and ideas. For more info on Taxi Gallery - please visit

The translocal or "glocal" philosophy of Taxi Gallery is reflected in the forthcoming RADIO TAXI project which will integrate a 3 mile radius analogue FM broadcast with a worldwide digital transmission via a server capable of handling multiple streams. RADIO TAXI will be a live(ly) mix of locally originated programmes and interventions
(significant community involvement by neighbourhood residents of all ages will be developed, including several major projects with Coleridge Secondary School and an evolving radio club), a curated programme of invited sound works and a schedule of sonic art from all over the world. The Radio Taxi webcast will be technically supported by Liam Wells (Norwich School of Art and Design) of n0media.

Transmission dates:

6pm 27 May -  6am 31 May  (GMT)& 6pm 3 June - Midnight 5 June (selected highlights)

The selected highlights will remain archived on the Taxi Gallery website for the foreseeable future. An audio CD selection will also be included in a forthcoming full colour Taxi Gallery publication.


1.  A 1hour (unedited, raw) field sound recording made at night (any time between dusk and dawn) from a specific location anywhere in the world. Please include exact details of the location, date and time of the recording.

2.  A recording made for the duration of a taxi journey (see Jan Cain's 'Ride' in the Taxi Gallery web archive). Please include details of the journey including departure and arrival destinations and reasons for the journey. These recordings will be played during the overnight programme during the broadcast period - a programme inspired by Jim Jarmusch's film 'Night On Earth'. All submitted recordings will be fully credited on the website.

3. Contribute to the curated programme by submitting new or existing soundworks that in some way address at least  one or more of the following themes:

Neighbourhood The Commons Everyday Location Transition Conversation Collection Transmission

No other limits and we're also happy to receive proposals/ideas for works to be carried out on site or via live - streaming. Submissions should be sent (preferably in audio CD format - please get in touch if this is a problem) with details, credit info and weblinks to:

38 Stanesfield Rd, Cambridge, CB5 8NH England. Queries to:

Submission Deadline: 1 May 2021 latest - though we'd encourage early submissions.


'small things'  is currently working on an experimental arts project supported by Arts England & Dance Initiative Greater Manchester.  The Company is looking for a musician to provide original music (recorded onto CD) - preferably on strings for a cross-artform production touring throughout the summer & autumn, with a 10-day tour of Poland in May and June.

'small things' has received a small grant from Arts England North West and Dance Initiative Greater Manchester to devise, rehearse and tour the work.

There is not a lot of money in the pot and the company can only offer £50 for the right music.  However, this is an opportunity for 'small things' to promote new work.

Sample of work should be sent to 'small things' c/o Cath Hawkins, 56, Pennington Road, Leigh, Lancashire WN7 3HS, or alternatively e.mail to Liz Taylor on


The Muse Gallery at 269 Portobello Road, London W11 is hosting regular
evenings of soundscapes, improvisation and sonic art.

We would like to hear from artists, composers, sound designers and musicians who wish to exhibit and perform their work in an atmospheric and receptive environment.

Martin A Smith
07956 451 894

Evil Moisture – ‘Killer Nuts’

Deco records

This kicks off with short-sharp sonic bursts in rapid succession. A radio scanning the airwaves. An indecisive flick through TV channels. Vocal interjections: “We like it”. “Come on, yeah”. Acid-bass and noise terror flash by in an instant. Glimpse’s of bygone audio. Distorted vocals: “Turn that fucking music up!”. Loops are roughly chopped and embellished with improvised electronic whirrs and squawks. Orchestral hit, General MIDI number 55. This sounds like Casio keyboards in a pile-up. “Uh oh”, here come Shampoo. Extreme panning induces spatial nausea. Was that a flock of seagulls? Granulated chipmunk falsettos. This is a DJ set with all the hooks and builds censored out. Artificial deck changing at amphetamine pace. Imagine DJ Yoda’s ‘80’s edition’ album on fast-forward. ‘Primordial nu-beat soupe’ - 15 seconds to zone-out. Most of the tracks are this condensed. But here comes the single, ‘FOOD TV’. Nearly 3 minutes in length, the monster track. “Boys, boys, boys”. Playing their synth drums. This is truly reviving and reliving the vibrant exhilaration that affordable sampling technology brought about. All the elements are here. Voices descend through a veil of noise, arpeggiators, snare rolls and four to the floor 808-kicks. Low Frequency Oscillators put through their paces. ‘Funeral March’ in fractured form. Some tracks display definite structures, but the sections have no intention of correlating. The sound design perhaps becomes a little monotonous by track 23, but silence receives its due during track 24, ‘Hair lip (post-epilation Microphone Munching Mix)’. This is the longest piece, clocking in at 5:30 and also brings a curiously abrupt ending, concluding before reaching the supposed destination; the elusive track 26.   

‘Killer Nuts’ is an example of cut and paste musical experimentation. Samples from throughout the 80’s have been re-sampled and haphazardly fused together presenting its listeners with a self-styled, sarcastic album which mocks this popular and familiar compositional method. Firmly tongue-in-cheek, it might be likened to Vicki Bennett’s ‘People Like Us’ project. Nothing’s been as predicted during the last 26 minutes. Stay tuned. Welcome to Evil Moisture.     

Reviewed by DJC de la Haye
A composer and bassist who’s recently completed an MMus at Newcastle, and available for all types of musical debauchery…