News from the Sonic Arts Network


Cut and Splice nears ever closer. For your chance to see Jaap Blonk perform Ursonate at the Private View and a realisation of John Cage's William's Mix at the closing party, the correct (and definitive) number for the BBC ticket line is: 0208 576 1227. If you are experiencing problems with the ticket line, keep trying, as these issues are being resolved.

EXPO 966 is this year to be held in Scarborough and we are currently seeking Event Assistants. Full details can be found in the calls section.

Sonic Arts Network welcomes a new member of staff to the Sonic Postcards team. Jana Phillips joins us as Sonic Postcards Project Manager.

We currently have three proposals fighting it out for the Barry Anderson Bursary. Voting will end on 11 April and Justin Wiggan's proposal currently holds the most votes followed by James Wyness and Stuart Craig (Vote now). The deadline for next month's vote is 8 April so get your proposals in now.

If you would like to contribute to Diffusion and join our ever-expanding international team of reviewers email You will receive free CDs and an opportunity to be read by over 1000 people. You may also be keen to write a concert or conference review of an event in your local area?

We are also looking for article contributions - be it a summarised version of an academic paper, an article on a sonic art issue or artist that you feel strongly about.

Please include your postal address, a list of your top 5 sonic art related releases to help us pick out something suitable for you.

For Diffusion we ask that you produce around 500 words for a CD or gig review and 1000 words for an article.

Get to it! International journalistic careers have been launched on far less!


25 March
Resonance Benefit Gig
(live performance)
Spitz, London

gLASSsHRIMP present a Resonance 104.4 fm benefit gig featuring arists who have supported the station, inluding Shit & Shine, Chris T.T, William D. Drake, Stephen & Nancy (Memory Band) and Resonance DJs.

31 March
Wired Women
(live performance)
Spitz, London

Throwing together leading names in female electronica. Aura Hour is a new joint collaborative project here bringing together planningtorock and original wired woman Kevin Blechdom.

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)
The Charterhouse, London

A plethora of sonic treats including the London debut of Italic, Mille Plateaux & Background artist. Antonelli Electr. Combining pop with electronic minimalism. We're Breaking Up aka Michael Rodgers on analogue electronics. Marc Knauer and DJ Tango Mango AKA Richard.

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 webcam 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.



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


Department of Music, School of Arts
City University, London

Senior Lecturer/Lecturer in Music
£30,000 - £45,000

The Department of Music seeks to appoint an electroacoustic music composer or composer-performer. You should have an excellent research record, or be able to show the potential to achieve research excellence.

You will be expected to teach composition in a variety of electroacoustic music genres at all degree levels. The ability to contribute to teaching in an area other than electroacoustic music would be an advantage.

Ref SH/2134
Benefits include a final salary pension scheme.
Closing date: 1 April 2005.

For more information and an application form, visit  or write to Recruitment Team, HR Department, City University, Northampton Square, London EC1V OHB, quoting the job reference number.


The Lancaster Institute for the Contemporary Arts represents an ambitious and exciting new initiative by the University, which is consolidating and expanding its creative arts provision within the context of its continuing overall commitment to promoting the highest quality research and teaching excellence.

Based on an amalgamation of the Departments of Art, Music and Theatre Studies, the new Institute will come into being on 1 August 2020 and will foster interdisciplinary approaches, focusing on and facilitating a laboratory-based exploration of arts practice and engaging with academic, professional and creative-industries practitioners.

Candidates for this post should have proven creative and/or academic research and teaching skills in Music Technology and Sound Art, and in addition an interest in interdisciplinary approaches in the Arts.

The Chair appointment will be at Professorial level (minimum salary £43,513 p.a.) The Lecturer A/B appointment will be made at an appropriate point on a scale between £23,643 and £35,883 p.a. The Senior Lecturer/Reader appointment will be made at an appropriate point on a scale between £37,558 and £42,573.

This appointment will take effect from 1 September 2020 or as soon as possible thereafter.


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:

* Automatic cross-media production, gathering, crawling, composition, formatting, P2P, etc.
* 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

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 (ç). 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

Wolfgang Menzel- Longstring (EP)

Online Release (MP3)

Wolfgang is a monomaniacal soul. Broken into four movements entitled ‘live’, ‘day’,  ‘eve’ and ‘dawn’, his web-available EP Longstring is a seemingly simple concept: Construct a very, very long string and hang it (like a hammock) between two trees before making extensive mobile recordings of oneself plucking and scraping at it. However, I suspect that the very, very long string in question is in fact a short-to-normal sized string that has been cleverly resampled to sound like a ‘Longstring’ in some sort of software wave-editing process. At the very least, that’s what he might as well have done.

Don’t get me wrong: I have a profound respect for some acousmatic records. I found Francis Dhomont’s Les Derives du Signe to be an intriguing platter of otherworldly hushes, splutters and groans - tentatively sculpted and orchestrated. Dhomont’s considerable success was in his ability to maintain the ‘true’ sound’s camouflage – partly in the rapid turnover of different sonic events. Had I been immediately able to identify the recorded sources of Dhomont’s processed soundscapes then, undoubtedly, it would have been a less compelling experience. This is precisely where Menzel – the Motorhead of acousmatics – fails: If the title doesn’t give the game away entirely, then it is only a few seconds into his relentless, monochrome shtick before the exercise loses its grasp on the listener’s suspended disbelief. For the following minutes, until the end of the EP, any hope that the music might conjure the sort of revelatory imaginings I had encountered with Dhomont is quashed by the banal thought of a 13-year-old nu-metal fan sitting in his bedroom insistently trying to drop-tune his guitar …in slow motion.

Like undergrad Fine Art, Menzel’s work depends on expansively ambiguous titles (“yeah…like…live…right?…just live”) to try and interfere with his audience’s bullshit radar. To all intelligent parties, this is a transparent and last-ditch attempt at concealing the inanity of his work. And by inanity I don’t mean a deliberately hypnotic, Phrygian deployment of repetition but a failure to do anything interesting on a sonic OR conceptual level.

Perhaps the most noteworthy thing about this EP is the nature of its release as a free download on the web. Depending on how you look at it, such releases are either honourable, subversive and forward thinking or a necessity for substandard or wantonly obscure recordings. Irrespective of your opinion of music downloading, I guarantee that within 10 minutes of googling I could find an mp3 in the corner of some synth-bothering muso’s naff, Word-Art emblazoned web page that is eminently more gratifying than Menzel’s efforts.

Reviewed by Heydon Pickering
Heydon is a Composer, Artist and Illustrator living and working in Norwich.

Ether Festival: Matmos, Charlemagne Palestine, Zeena Parkins + Ikue Mori, Cyclobe

As a mixture of fashionista types, Japanese students and laptop geeks sipped their bottled beer in the foyer, they were alternately caressed and bludgeoned by Cyclobes’ panning soundscapes that filled the lobby with Amazonian bird noises and pulsating sub bass.

The first set in the auditorium was harpist and Bjork Collaborator Zeena Parkins, joined by drum programmer Ikue Mori (formerly of No Waver outfit DNA). Mori sat in front of her laptop whilst Parkins stood beside her, straddling the space between her harp and a table of electronic equipment and laptop.  The set sounded like a live version of a Hideo Nakata horror-film score.  The music plunged from microsound subtlety to jarring discordance as beats raged beneath Parkins’ vicious attacks on her harp, dragging hellish sounds from the usually angelic instrument. Mori’s only movements were an increased twitching of her eyes and head as the intensity grew – as if her body was directly plugged into the sound system.  Despite this, the set lacked a solid connection with audience – not so much a disappointment, but somewhat short of what I expected.

After sitting in my seat, post Parkins and Mori, for about 20 minutes, expecting to see Charlemagne Palestine – I wandered out to see what was going on.  Being an idiot, I forgot to read the sign saying he was playing in the neighbouring Purcell room. After finally getting into the much smaller room, I sat down to see Charlemagne in customary hat and scarf, surrounded by teddy bears, a piano and his laptop, which he sat behind as if casually checking his emails. Almost as soon as we settled in, The Sound of Music tune, ‘These are a few of my favourite things’ began to play. Palestine jumped up and danced around the stage with red wine in hand.  This seemed to please the crowd and eventually he danced out of the room.

As I made my way back to the main auditorium to watch Matmos, Cyclob continued in the lobby.

The lowering of lights signalled the start of the Matmos set, though after several minutes it became clear that there was a technical problem with a video camera.  MC Schmidt came on to explain.  After instantly starting up a dialogue with the audience, the mood became relaxed.  After deciding to continue the set without the opening video piece, they started the second.  Almost as soon as they did, the screen flickered behind them and they went back to the video idea.  This turned out to be repeated piece of footage of a hand moving down a naked back, before slapping an arse.  It played, much to the delight of the crowd, until MC Schmidt came in shouting “This bit should have sound”.  As they tried to fiddle with cables, the audience began to syncopate their clapping with the spanking.  This clearly inspired Matmos.  MC Schmidt lowered his suit trousers and got across Drew Daniels’ lap – together they recreated the video – smacking the reddening cheeks with increased vigour.

From here, the crowd was won over.  The set went off without any more hitches.  Schmidt mainly concentrated on creating sounds in various ways – including destroying beer cans, sexually molesting a balloon, pouring water over a sheet of metal, small toys and whistles whilst Daniels sampled them live, building up richly layered pieces.  At one point, a huge sound was created from the sampling of balloons being blown up, rubbed and deflated and intertwined with intense rhythms and bassy drones. As the track ended, they let up a line with three helium filled balloons on the end. As the sound died down, a small speaker, also attached to the balloons, played an understated sample – as if it were being sung by some ethereal being.  After a small break, Mori and Parkins joined them on stage for an improvised final piece which finished off an excellent gig.  A master class in performance, in a genre that so often suffers from static laptop gazers.  Basically – Imagine stomp…if they were good…and funny…and played electro music…and there were only two of them…and they were Matmos.

Review by David Rogerson


I/DEX - Seqsextend


After a little research it turns out that like most electronic musicians, I/DEX also has a few other aliases such as Harmash, Mystique and of course his real name Vitaly Harmash and started on doing field recording/tape experiments around '97 and combining them with a Sony playstation of all things.  His release for Ukraine Nexsound label is a bit different from what you'd imagine and it seems that Harmash has moved into the slicker world of minimal digi-dub constructs that would fit nicely into the ~Scape catalogue. Harmash's ability to build from the crackly minimal warmth platform of his cohorts his shown on Seqsextend. He gives a nod to the moody melodies of early the early Detroit/Berlin techno and I can't help but think of the old Kenny Larkin and The Black Dog records when I listen to the patches he uses. Comparisons aside, this is an excellent release (but perhaps a bit too long) and will be interesting to see how Harmash's style develops in the future.

Reviewed by Justin Hardison
Justin Hardison records under the name My Fun and aims to create narrative work using small microphones, sampling, and assorted software sound generation. He lives with his wife and cat in London.