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- Yesterday3 min
Sweet memories of Kawasaki
"I found the idea of candy cutting and the cheerful voices on the original recording very reminiscent of a childhood memory. The fact that I cannot understand the Japanese being spoken makes it further seem like a hazy memory. "I wanted to retain the cheerful, nostalgic tone that I perceived while adding a melodic component on top of the rhythm created naturally by the candy cutting." Candy cutting in Kawasaki reimagined by David Jolly.
- Yesterday3 min
Tontoko: sugar cut on Kawasaki Daishi Street
On the street leading to Kawasaki Daishi, the sharp, percussive sound of hand‑cut sugar candy forms a steady rhythm.Shopkeepers’ voices enter from both sides, calling out “Welcome” and offering tastes of candy just cut moments before.Recorded in Kawasaki, Japan by Miduno.
- Yesterday20 min
Lake Masek night chaos
| A wild night at Lake Masek in Ndutu, Tanzania. Hear hyenas whooping, lions roaring, jackals calling, hippos grunting, zebras barking, and flamingos vocalizing-all in one incredible soundscape. Perfect for immersion, study, sleep, or experiencing the true chaos of the African night.Recorded in Ngorongoro, Arusha, Tanzania by David Joseph.
- Yesterday8 min
The darkness is rising
"I spend a lot of my time leading community choirs and singing protest songs, rousing anthems of freedom and liberty - and now, more than ever, they are needed. This is not a protest song, it is a plea. Ask yourself, which side are you on?"Together Alliance protest in London reimagined by Rebecca Denniff.
- Yesterday6 min
Underland
"This is my second attempt at producing a piece of music using the source sample. The original sample contains a clean, distinct loop of tribal drumming, and at first I constructed a piece based on that loop, with rhythmic and melodic elements stacked, and arranged into an EDM piece. "That was a bit too obvious, so instead I took the loop, deconstructed it, and applied pitch-shifting, filtering and other processing to elements to come up with the low-frequency sounds (at 52s, and later in the track) as well as the various bleeps and glitches that run through the track (the original loop - in a processed form - is also in there, reversed and pushed back in the mix). "The other elements, sections and movements grew out of those treated sounds organically; I didn't plan in any great detail how I wanted it to sound, and serendipity definitely played a part in how it turned out, but it is influenced to a degree by the book Underland by Robert MacFarlane (hence the title) - I wanted to convey some of the imagery and concepts in that work (deep time, and the physical heaviness of the world beneath our feet), and used low-frequency and heavily reverbed sounds, as well as a slow tempo (55bpm) to create a sense of drama, depth and space. "More of my music can be found here: https://filmclub1.bandcamp.com." Drumming in a park in Hannover reimagined by Mark Gordon (Film Club).
- Yesterday3 min
Holding Death Wall
"This is a collaboration with pianist and composer Leah Floyeurs. We worked with sensitivity to honour the vibrational signature of this location in space, the Auschwitz Death Wall, which holds the memory of the Holocaust. The piece uses electronics and piano." Auschwitz Death Wall recording reimagined by Helen Copnall and Leah Floyeurs.
- Yesterday6 min
Lake Masek
"Spend the day at Lake Masek, join The Northern Synthesizer Orchestra on an audio journey from dawn to dusk. Created collaboratively by The NSO which is Becky, Jordan, Dom, Julie and V. "Lake Masek soundscape reimagined by The Northern Synthesizer Orchestra.
- Yesterday15 min
Together Alliance march, 28 March 2026
The very beginning of Together Alliance's march against the right wing. This protest took place in central London in March 2026. I was located in the centre of Piccadilly near the Ritz hotel. The recording consists of chanting, drumming and many voices passing by as they made their way down Piccadilly towards Trafalgar Square. The rig I used to catch this recording was a pair of DPA 4060s into a Zoom H6 Essential. The mic configuration was spaced Omnis, approximately 20cm apart and set at a 45° angle. The only processing has been some compression at a 3:1 ratio and lifted by +10dB.Recorded in London by Ian Rattray.
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