News from the Sonic Arts Network

Frankfurter Ahnung Launch

24 January will mark the official release date of the next instalment of the Sonic Arts Network CD series - Frankfurter Ahnung. Curated by Ben Watson, critic, author, poet, polemicist...

To mark this day, Militant Esthetix will be holding a launch party at Purple Turtle, Crowndale Road (nearest tube Mornington Crescent) 7.00-9.30pm Tuesday 24 January. Free entry!

The night will include a launch night special offer price on the new CD plus a second-hand bookstall; turns by authors, poets and improvisors; Lol Coxhill; complimentary glass of wine; Sean Bonney's Negative Poetix manifesto; slide show; Swamp Dogg Disco by Dallas Boner; Dancing at 8.30pm.

For further Information visit:


Expo call

The deadline for commission proposals, submissions and papers/research presentations for Expo 2006 in Manchester is 16 January. See the calls section for more details.


12 January
SPRAWL: 10th Anniversary
(club/live performance)
Yacht Club, Temple Pier, Victoria Embankment
London Sprawl is 10 years old. To celebrate, they have invited over two US artists, Taylor Deupree and Richard Chartier. Joined by Iris Garrelfs and Si-cut.db.

14 January
Sonic Art Meeting Group
Leeds University

Present your own music, participate in a free-form improv session, or listen and discuss ideas. Everyone welcome, regardless of background or level of experience.

19-22 January
Flatpack Festival
Electric Cinema, Birmingham

Assembled by the people at 7 inch cinema, the 1ST FLATPACK FESTIVAL offers a mishmash of shorts, animation, features, music docs and live events. Highlights include: AN AFTERNOON WITH HENRY JACOBS and PEOPLE LIKE US.

24 January
Sonicity 1: Electroacoustic Music from City University
Performance Area, Department of Music,
City University, London EC1V 0HB

Programme features: Soloist: Stefanie Liedtke (bassoon and baroque bassoon); Vessel@anchor (2005);  Aki Pasoulas - Sequenza 12 for bassoon solo; Luciano Berio - Fouram (2005); Ambrose Seddon - Nassama (2005); Guy Harries for baroque bassoon and electroacoustic sound; Bardo 5 (2005)- Chih-Hung Weng.

25 January
The ICA, The Mall, London SW1

Celebrating 10 years of the sonic art club
Sprawl, curators Iris Garrelfs and Si-cut.db
revisit one of it's big inspirations, The
Electronic Lounge-resident monthly club at the
ICA for 5 years, alongside the Lounge's founder Scanner and Lounge resident Tony Morley from the Leaf label.

31 January
spnm's The Sound Source: MTK
Cargo, London, EC2
Spnm’s new experime
ntal music night ‘The Sound Source’, resident at Shoreditch club Cargo, presents trio MTK, who perform a programme of live electroacoustic music using modified and overdriven instruments and open source software. There’ll be laptops, decks, saxophone, voice, toys and live visuals.

3 February
Subvision@Bartok presents: INFANTJOY
(live performance)
Bartok, London NW1

Infantjoy present a live electro-acoustic re-interpretation of the music of Eric Satie for the 21st Century. Featuring Paul Morley (ex-Art of Noise) - Narrator; James Banbury - Electronics
Mark Lodge - Piano; Guest vocalist: Sarah Nixey (ex-Blackbox recorder) + DJ: Richard Lannoy (Subvision).


Interactive electroacoustic music course

Starting on Saturday 28th January, this course allows musicians to explore ways of working together to make live electroacoustic music.

Working in small groups, the course participants create various systems in which live performance can take place.

Issues such as gesture mapping, group control, sound spatialisation and instrument/ interface design are explored.

The course uses a base of specialised Max/Msp programs, and an assortment of interfaces which can be customised during the course.  Interfaces include the Icube, a blackboard sized touch sensitive screen. game controllers , keyboard and video.

Hardware consists of 2 macintosh laptops networked and 4 loudspeakers.

There is discussion of, and listening to, other branches of sonic art - including  Soundscape and Acousmatic - with consideration of how these relate to live music.

Although this course is not specifically about Max/Msp programming, it offers a basic introduction to its use. (An intensive course is planed in the Summer term).

The course takes place at the Mary Ward centre, a beautiful old building near Kings Cross in London, with an excellent Cafe. It occurs on 6 Saturdays (28/01/2006-11/03/2006) from 2pm till 5 pm. It costs £59 or £15 concs.

Booking can be made through the Mary Ward Centre:

The Mary Ward Centre
42 Queen Square
London WC1N 3AQ

Vacancies: London Sinfonietta

We are seeking an enthusiastic and motivated individual to assist the Marketing and
Development Managers.

We are also offering a voluntary six-month work placement. Would suit a recent music graduate seeking a career in arts admin. Travel and lunch allowance.
For details of both positions please visit
or send a large SAE to: 
London Sinfonietta, Dominion House, 101 Southwark Street, London, SE1 0JF

Closing date for all applications Wednesday 25 January 2006.

Opportunity: Lighting and a Sound Designer (London - expenses only)
The production "Taikonaut" is looking for a lighting designer and a sound designer for a scratch performance at the Battersea Arts Centre mid-February 2006.

"Taikonaut" is a black comedy set in space, straddling China & the U.K. We are looking for a Lighting Designer to to create a lighting plan for this one woman show and to operate the show over a weekend. We are also looking for a Sound Designer to record and produce existing original compositions, create detailed soundscapes and to operate. At this stage we are able to cover expenses only.

If interested, please email CV to by Saturday 14th January.


Training and work experience opportunities

Make Some Noise are developing an Emerging Artist Programme to provide training and work experience opportunities for skilled musicians interested in pursuing a career in the community music or music education sectors.  We are looking for newly graduated musicians (or of a similar level of experience) to participate in the  development of this programme.  Participation will entail working with a consultant to develop the structure of the programme followed by a commitment to the subsequent training, shadowing and paid work experience opportunities. 

Candidates should be resident in or working in Staffordshire or Stoke-on-Trent and need to be available to commit a few hours each week to this programme. 

Start date is dependant on availability; however some consultation should begin from February 06 with practical work available for varying durations between April 06 and March 07.
Please contact Liz Muge at Make Some Noise on for an expression of interest form.

Enterprise 06 at the Space

The Space launches its second annual Enterprise season running from May-June of 2006. 

The aim of the Enterprise season is to promote the production of new, innovative performance with an emphasis on originality and stretching boundaries.  All performance styles will be considered including (but not limited to) theatre, dance, music, live art and cabaret.  New interpretations on existing works will also be considered but applicants should state how their interpretation is innovative.  Pieces can be of any length and varying lengths of runs will be available.

Last year the season included 42 performances of 15 new pieces of work, two of which were transferred to other London venues.

The Space will provide the venue and administration of the season as well as offering box office splits, production and technical advice and marketing/networking opportunities.

There will be an open evening to view the venue, meet the organizers and network on 24th January.

Deadline for applications is 17th February.

Application forms can be obtained by e-mailing or phoning 020 7515 7799.


23-26 JUNE 2006

In conjunction with University of Manchester and Cornerhouse

Expo is an opportunity to experience the work of the best UK sonic art practitioners, to meet, listen and respond. After the success of last year’s highly eclectic event in Scarborough the focus now shifts to Manchester. Preparation is underway for another packed weekend of sonic art and electronic music from UK artists and a choice selection of international guests. This weekend of performance, exhibition and presentation will take place across a variety of public venues in Manchester including concert halls, gallery spaces, bars, nightclubs and an historic architectural space. The weekend aims to highlight the broadest possible range of approaches and thinking that surround the sonic arts. We welcome submissions of all kinds.

There is no charge for the submission or acceptance of work, and indeed, entry to the festival will continue to be free to all members of the public. We do ask that selected artists attend the event. This call is open to all UK based practitioners and all international members of Sonic Arts Network.

Call for Works, Papers and Commission Proposals


Submissions are sought in all forms of sonic art including real-time interactive works, improvisation with technology, experimental electronica, instrumental/electroacoustic mixes, acousmatic music, sound installations, environmental sound work, performances, internet-based creative work, sound and image works and cross-arts work. We welcome submissions of all kinds of work incorporating sound.

Submitted works must have been created after January 2005.

Some resources are limited and, for example, performers must be supplied by submitting artists.

Available equipment for this year’s festival will include: a multi-channel sound diffusion system catering for projection of stereo and multi-channel works (hard disk) and smaller, adaptable stereo systems suitable for installation work, Macintosh G5 (dual processing) and iMac G4 computers (OSX) with Digi 002 and MOTU 828 Firewire (mark two) audio interfaces. Video projection facilities are also available.

Central to this year’s programme will be a day of sound art at The Manchester Victoria Baths on Sunday 25 June. The faded grandeur of this Edwardian ‘water place’ lead to the building winning BBC 2’s 2003 Restoration series and is one of the few surviving municipal buildings of its type in the UK. We are seeking submissions of both performance and installation work that will complement this remarkable historical space and will be suited to its reverberant acoustic. Those interested in submitting should also visit (explore the Victoria Baths Community Archive through the ‘links’ sections of their site) to see more photos and get information about the building, its history and the people who have used it over the years. Sonic Arts Network will make a limited amount of assistance funding available for selected works where deemed necessary for staging. Please include a budget with your submission.

Research Papers Submissions

Image – Action – Sound
The final day of Expo will be given over to papers and research presentations and we encourage submissions orbiting the following ideas:

_the interpretation of text and image (graphic scores for example) in electronic music and sound art
_performer interfaces and their aesthetic and technical ramifications
_the relationships between composition and improvisation in current electronic music performance trends
_the role of the composer in interactive and ‘non-intentional’ work (for example various forms of soundscape and documentary based work)
_cross media relationships in live AV, sonic improvisation alongside fixed media such as film

The guest speaker on this day of research presentations will be Joseph Byrd. Byrd studied with both Morton Feldman and John Cage and became involved in New York Fluxus in the 1960s. His graphic scores have been published by La Monte Young in his ‘Anthology’ and Cage in his ‘Notations’. In the late 60s he was a founder member of the experimental rock group The United States of America and he is a scholar of music in American cultural history. Joseph Byrd is collaborating with the British sound art group Dreams of Tall Buildings and the Norwegian noise improvisation group Spunk on a new Sonic Arts Network commission to be premiered at Expo.

Submitted presentations may take the form of written papers or discussions of creative, research or practical work (including work in progress). Presenters should plan for 20 minutes presentation time and a further 10 minutes discussion time will be allowed.

Submission Guidelines

Submissions of papers and works should include:

_ Title of work/paper
_ Name of author(s)
_ Contact details (name, address, telephone/fax, email, URL)
_ Brief bio (150 words max.)
_Programme notes, if applicable (max 150 words)
_ Description of artistic concept (250 words max.)/Abstract summary of paper (500 words max.)
_ For artistic submissions, the role of technology in realisation of work (100 words max.)
_ Technical resources required for presentation (specifying those that can be supplied by the artist in the case of artistic submissions)
_ For artistic submissions an audio/video example of work (CD or link to www site)

*Please note, we require the written information to be emailed to Richard Whitelaw at and clearly labelled hardcopy of examples of work to be sent to:

Expo 966
Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

Deadline for proposals: 16 January 2021

Commission Proposals

In addition to our call for existing works, we are once again pleased to offer a festival commission for the creation of new work. This piece will be a sound installation to be premiered at Cornerhouse, Greater Manchester’s international centre for contemporary art and film ( This new work will run from 23 June – 30 July 2020 and will be on view in Gallery 1 during regular gallery hours. Sonic Arts Network and Cornerhouse will work in partnership to select from submitted commission proposals and to assist in the presentation of the new piece. Proposals for work are invited from British artists, artists living and working in the UK or international members of Sonic Arts Network. A total budget of £4000 will be made available for the delivery of the selected work. This will breakdown as £1000 artist fee and up to £3000 production costs. Production costs should also include any special equipment required for the installation. Those considering applying for this commission should see the plan of Gallery 1 at Cornerhouse which available at the Sonic Arts Network website.

Commission proposals should include:

_ Title of work
_ Your name
_ Your contact details (name, address, telephone/fax, email, URL)
_ A brief biography (150 words max.)
_ Audio/video example of your previous work (or link to www site)
_ A Description of the artistic concept to be commissioned (500 words max.)
_ The technical resources required for the presentation (specifying those which will be supplied by the artist)
_ A simple budget specifying your fee, the production, materials and presentation costs
_ The time-scale strategy for the creation and completion of the work

*Please note, we require the written information to be emailed to and clearly labelled hardcopy examples of work to be sent to:

Expo Commissions
Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

Commission proposals should be clearly labelled and reach the Sonic Arts Network office by 16 January 2021



Organised by UK & Ireland Soundscape Community and the Music Department,
Goldsmiths College

Dates: 11th & 12th February 2006

Location: Goldsmiths College, University of London

Deadline for proposals: EXTENDED DEADLINE ** 13th January 2006**

The UK & Ireland Soundscape Community (a regional branch of the World Forum for Acoustic Ecology) was launched in 2001 with a major international conference at Dartington Hall (Sound Practice: the 1st UKISC conference on sound, culture and environments). The objectives of the conference were: to nurture our understanding and awareness of the soundscape; to report on past, current and future soundscapes; to advance the emerging interdiscipline of soundscape studies. Since then the scene has developed dramatically, and with wide ranging new initiatives and directives, yet with arguably limited scope, soundscape issues are now more firmly on the map than ever.

SOUND PRACTICE 2006 provides an opportunity to take stock and reflect on many of the activities that have shaped the scene over the past 5 years. It will also provide a forum in which to discuss the future of soundscape studies and pool new approaches and practices.

Invitation to submit proposals: Proposals pertinent to the above topics are welcomed from a variety of presentation formats: academic papers, workshops, posters, sound walks, electroacoustic and acoustic compositions, multi-media presentations, live-art performances, panel discussions, installations, exhibitions, soundscape study reports, demonstrations of emerging technologies.

Submission Instructions:
All submissions must include -

Institutional Affiliation (if applicable):
Postal Address:
Web Page (if applicable):
Presentation Format:
Title of Presentation:
Programme Notes or Abstract (200 words max):
Short Biography (200 words max):
Technical Requirements:

Please include DAT, DA98, CD, video, score and other relevant forms of documentation of proposed presentation. All materials received will be put into the UKISC archive. All participants are expected to attend the conference. Submission of work by students is particularly encouraged. Entrance to all events will be free.

Any enquires please contact:

Deadline for submissions of proposals: 9th January 2006 (post marked)

Send Proposals and Submissions to:
c/o Dr John Levack Drever
Music Department
Goldsmiths College
New Cross, London
SE14 6NW

Call for Work - CFP: Synoptique Sound Edition

Synoptique, an online journal of film and film studies (, is seeking short written contributions for an upcoming edition on sound in the cinema and beyond.  As guest editor I invite you to tell us what would make the world of audio-visual art a better place.  We are particularly interested in comments on audio-visual art outside of the cinema. 

The Visual Music exhibition, currently showing in the US, documents a century's worth of experimentation with the pairing of sound and image. It thus seems like an appropriate time to ask ourselves the following questions: What do we expect from sound/image relationships in the audio-visual arts, and are these expectations being met?  Have any of the audio-visual arts, whether cinema, site-specific installation, live performance, etc., truly reached their inherent potential to present sound and image as symbiotic entities?  Is symbiosis even the right way to think about the pairing of sound and image in the arts? 

If you're like me then you have your share of frustrations with the lack of audio-visual balance found in most art based on the co-existence of sound and image.  So much of the world's cinema continues to treat sound as a necessary afterthought to the image.  Meanwhile, laptop music performers are throwing visuals up on screen with increasing regularity, but only rarely with any real thought about how the seen relates to the heard.  And if you're like me, you probably also have your short list of favorites in the audio-visual arts to which you hold everything else up for comparison.  Perhaps a film such as "In Absentia" by the Brothers Quay and Karlheinz Stockhausen stands out as a model for audiovisual symbiosis in the cinema.  Beyond the borders of the fixed frame, perhaps the collaborations of Janet Cardiff and George Bures Miller explore the seams of the audio-visual envelope just waiting for the right time to burst. 

Here is your chance to weigh in.  Tell us what you love, and what you hate, about trends in audio-visual art both past and present.  Share with us what you think the pairing of sound and image needs in order to meet the expectations that so many of us have for audio-visual media. We're seeking contributions of 250 - 500 words for a forum that will head-off a special section of the edition dedicated to audio-visual art outside of the cinema.  We will publish a selection that reflects the diversity of the works received.

Submissions are due by January 15th 2006 and should be directed to:

Include a bio of 50 to 100 words.

Visit the following page for an example of a previous forum we conducted
in memory of Susan Sontag:

Call for Works

Centre for Digital Arts and Experimental Media
Meany Hall, University of Washington, Seattle
April 12th, 2006 7:30pm

The Centre for Digital Arts and Experimental Media (DXARTS) at the University of Washington, Seattle announces a call for experimental works appropriate to a large proscenium theatre setting, including electroacoustic music, digital video and real-time electronic works. Works for new and experimental media other then traditional sound and video that are appropriate for a concert presentation will also be considered. Artists are invited to submit up to two works for inclusion in the DXARTS concert on April 12th, 2006. Works will be presented with a state of the art 12.6 3-D sound system and large venue digital cinema HD projection system.

Submission guidelines: Please send two copies (according to format below) and a submission form for each work to:

Concert Submissions
University of Washington
Box 353414
Seattle, WA 98195

Call for work

SIGGRAPH 2006 is looking for small-scale electronically mediated performances for the SIGGRAPH 2006 conference in Boston in July. We are interested in work that uses technology to creatively stimulate and enhance the performance.  We would like to see works that provoke thought, amuse, amaze or emotionally move the audience.

Because SIGGRAPH 2006 does not have a professional stage in a theatre, we are looking for small-scale dance, music, theatrical, performance art and/or hybrid works that can work with a black-box type of space in a major corridor at SIGGRAPH 2006.

If you are involved in electronically mediated performance or you know of any performances or performers that work with technology in a creative/innovative way, please send me their/your contact information and a URL if available.  The goal is to try to give cutting-edge performers an opportunity to showcase their work to the diverse computer graphics community and the public.  There is sure to be plenty of media coverage and the ability to make important connections throughout the conference.

Bonnie Mitchell
SIGGRAPH 06 Art Show Chair
"Intersections", Boston, MA USA
July 30 - August 3

Call for Participation: International Computer Music Conference 2006

Tulane University and the Newcomb Department of Music are proud to announce the open call for submissions to the ICMC 2006. The conference will be held on the Tulane University campus in beautiful New Orleans, Louisiana, USA from November 6 - 11, 2006 and will be a historic collaboration between ICMA and SEAMUS (Society of Electro Acoustic Music in the US). The nature of the collaboration is part of a larger theme of the 2006 ICMC conference - “multidimensionality.”

It is our hope to represent the multidimensional and multi-faceted field of computer music today through concerts, installations, paper sessions, poster sessions, demonstrations, workshops, and exhibitions as well as many other special events and many giveaways and prizes.

Hurricane Katrina and Rita have brought much destruction to New Orleans but we are eager to move forward and excited about the future of New Orleans and hope that you will be part of this great conference and great city! Laissez les bon temps roulez!

Tae Hong Park
ICMC 2006 Conference Chair

Please visit for details

Call for submissions

Proposals are invited for presentation at the
2006 Subtle Technologies Symposium
June 1st - June 4th, 2006 Toronto, Canada 
DEADLINE: January 31st, 2006

Subtle Technologies is a four-day multidisciplinary event exploring complex and subtle relationships between art and science. Subtle Technologies' mandate is to blur the boundaries between art and science. The annual event combines symposia, exhibitions and performances that juxtapose cutting-edge artistic projects and scientific exploration.

This year's theme for Subtle Technologies is Responsive Architectures. We are interested in investigating how environments and systems can interact and respond to their occupants.  We hope for wide-ranging discussions and presentations that explore dynamic systems and environments at every scale, from molecules to continents.  Extraordinary new qualities are emerging in the 'responsive' systems that are rapidly being integrated throughout our world, exploiting leaps in technology. This transformation creates critical questions as our capacity to change the world grows, for good and for ill. 

The symposium encourages a wide definition of architecture that encompasses buildings, mechanical and natural environments.  Three kinds of submissions are especially invited. Scientists are invited to contribute current research that relates to the topic. Artists, architects, designers and performers are invited to contribute their ongoing creative work. Writers are invited to contribute discussions of philosophy, history and theory. A range of approaches are welcome including interdisciplinary work that combines these approaches, specialized presentation proposals that focus on a single topic in depth, and general discussions that draw upon multiple topics. To complement the Toronto-wide SoundaXis <> festival occurring in parallel with Subtle Technologies, sound and acoustics will be a special focus. 

Examples of possible topics include:
Interactive systems
Adaptive environments
Hybrid ecologies
Smart materials
Buildings that can move and transform
Extended physiology
Complex systems analysis
Expanded perception
Resonance and spatial acoustics
Physics of sound

Presentation and Publication
Selected proposals will be invited to present either an illustrated talk followed by questions and discussion with the audience, or to submit a poster for exhibition at the Symposium. Presenters will be published in an illustrated book of proceedings that accompanies the event. 

How to Apply
Use our online submission form:

Deadline for Proposals
January 31, 2021

Selection Process
A panel of curators that include science and art specialists drawn from practicing and academic backgrounds will judge submissions. Selections will be judged for quality and relevance to the theme. Selection will occur early February and results will be communicated by late February 2006. Selected presentations will be asked for images and text early April 2006 for publication.

Additional Detail
Presentations typically last 40 minutes, followed by a ten to fifteen minute discussion period where moderators and audience interact with the presenter. Presentations should be designed for a public audience with varied interests. We encourage physical demonstrations and can accommodate a wide variety of formats. Technical support and equipment will be arranged to suit.

The 2006 symposium is being held in partnership with SoundaXis <>, a Toronto-wide festival inspired by the work of renowned architect-composer Iannis Xenakis.  The programs for Subtle Technologies will complement the numerous events planned for SoundaXis.   Participating institutions include Ryerson University , University of Waterloo , University of Toronto , Perimeter Institute for Physics, and The Fields Institute for Mathematics.

Summaries of past presentations are archived on our website. We encourage those interested in submitting a proposal to acquaint themselves with our history of programming.

Please contact <>

Call for work

The deadline for music submission for the LAC 2006 - 4th International Linux Audio Conference (27-30.04.06 at ZKM Karlsruhe, Germany) has been extended to Sunday 12 February 2006.

We invite submission of music that has been produced completely or mostly under Linux and/ or with open source software:

     * "Serious" compositions, to be played in a concert-like context
     * Electronica, Chill-Out, Ambient etc., to be played in a less formal, "party-like" context.

Please refer to the LAC2006 website for submission details:



Tod Dockstader & David Lee Myers


 “Roll ‘em”.

A vintage film spool gathers its pace, sputtering into action and issuing dilapidated light onto an imaginary screen. Footsteps stealthily trace a path whilst icy splinters of speech try to pierce through cellophane-suffocation to deliver us an indecipherable warning. Murky back allies are illuminated only by the puddles that reflect the pallid glow of the moon. Around the corner, we know that rabid, ravenous dogs are awaiting their next cut of meat. The air is full of mystery and the walls are sweating with condensation, but the strangest thing is: there’s nothing there.

A heartbeat; the phone rings; “you think its over?”; thunder claps.

Eclectic music pioneer Tod Dockstader & feedback artist David Lee Myers have released their second collaborative album. First up was the much documented ‘Pond’ which abstracted its sounds from live recordings of frogs. On ‘Bijou’ they use sonic idiosyncrasies nurtured by a century of cinema and subsequent television and mix them together to invoke a surreal, fictional life. Their concept is this: sounds abstracted from their sources become free to act as other signs. These sounds have been used on screen to create new object-signifier relationships which have become as meaningful as ‘real-life’ signs and therefore it is possible to conjure an imaginary narrative using these abstract sounds alone. As we hear a phone ringing, we might well imagine, depending on our experiences, a similar phone and its location, although in actuality: there’s nothing there. It is only the sound of a phone. This album witnesses the duo exploiting this idea to form a purely ‘aural cinema’. The result is something akin to a fabricated horror/suspense film or computer game; ‘Doom’ or ‘Alone in the Dark’ for the ears.

“Well, what are you waiting for?” a gravelly voice questions.

The 27 tracks read like a scene selection, ending with the “Credits” and “Wrap”, the end of the spool. Each flows effortlessly from one into the next, the motifs of one track often making their reappearance later into the disc. Sombre, foreboding synthetic drones linger through much of the music, not only reinforcing the idiosyncratic features of the horror genre but giving a sense of direction and uniformity below the often busy concoction of vocal clips, sound FX, scenic extracts and electroacoustic manipulations. The narrative is more perplexing than a Lynch film on a clear day, purposely arranged to be constant in its quality but ambiguous in its content, which is mirrored in the equally dumbfounding, but nevertheless intriguing, storyboard found within the inlay booklet.  

Hollow space reverbs; a hospital chamber; staccato clock ticks; choral pads.

These sound artists have undertaken a bold task and, apart from minor sections where the audio processing seems superfluous to the final outcome, they have succeeded in creating a fantastically unconventional experimental album which lures the listener onto journey through the cupboard under the stairs to a place where nightmares convene.

Reviewed by David JC de la Haye