Noise Quest 7: Livestreaming electronic and experiential music – Wednesday 29th July, 20:00-23:00 (uk)

20:00 Jonathan Higgins

20:45 Remi Fox-Novák

21:30 Bell Lungs

22:15 Lauren Sarah Hayes

Noise Quest 7
Wednesday 29th July
20:00 – 23:00 (uk time)


Jonathan Higgins is a composer and performer based in London who focuses on finding different ways of utilising noise to create music. He music often looks to communication systems and the noise inherent within them as tool for manipulating and creating sounds.
This set will be performed on hacked sony discman players and a CD recorder. Sounds from the CD players will be re-recorded to CD and reused, degrading the sounds on each recursive loop. This is a live interpretation of the process used to make the EP Bootlegs, released on Fractal Meat Cuts last year.

Remi Fox-Novák is a member of electronic experimentalists Surfacing. Away from the group, his music solo leans harder into the sounds of club music, whilst still informed by Surfacing’s spontaneous industrial growl.
The set, beamed directly from his home studio, will be a showcase of Remi Fox-Novák’s experimental exploration of audio technology as well as his approach to techno.

Bell Lungs: A mesmeric voice pours into your ears, atop mellotron violin, fingerpicked guitar, omnichord drones, bowed chimes, field recordings & glitchy electronics. Drawing on psychedelic, free improvisation and folk influences, Bell Lungs creates transcendental atmospherically shifting soundscapes interspersed with snippets of songs, musing upon rural idylls, post-industrial heartlands​ and​ online dating.

Lauren Sarah Hayes is a Scottish musician and sound artist based in Arizona who builds and performs with hybrid analogue/digital instruments. She is a “positively ferocious improvisor” (Cycling ‘74), her music refusing to sit nicely between free improv, experimental pop, techno, and noise. Over the last decade she has developed and honed a deliberately challenging and unpredictable performance system that explores the relationships between bodies, sound, environments, and technology. The Wire described her most recent album MANIPULATION (pan y rosas discos) as “skittering melodies and clip-clopping rhythms suggesting a mischievous intelligence emerging from this web of wires”. She is a member of the New BBC Radiophonic Workshop.

Mammoth Beat Organ keynote video for NIME2020 conference

The International Conference on New Interfaces for Musical Expression gathers researchers and musicians from all over the world to share their knowledge and late-breaking work on new musical interface design. The conference started out as a workshop at the Conference on Human Factors in Computing Systems (CHI) in 2001. Since then, an annual series of international conferences have been held around the world, hosted by research groups dedicated to interface design, human-computer interaction, and computer music. The twentieth edition of the conference will be hosted by the Royal Birmingham Conservatoire, a world-leading music institution and one of the eight conservatoires in the UK.

Me and Sam Underwood were invited to play a show with our Mammoth Beat Organ for the conference – but due to the cv-19 situation, we made a video instead. Normally for a show we get together a week or so beforehand to develop some new ideas for the machine as well as to rehearse. So we did something similar but each in isolation – working independently on new sound-making modules for the system, then making a new collaborative piece together. Our video serves as an introduction to the Mammoth Beat Organ as a whole, some of the ideas behind it, an introduction to each of the new modules and some footage of us playing them and playing the machine live. Some stills below to whet your appetite, info on the full conference is here:

Noise Quest 6 – Livestream electronic and experimental music – Wednesday 8th July 20:00 to 23:00

20:00 Tom Mudd
20:45 Colin Webster
21:30 Miri Kat
22:15 SERF
TOM MUDD enjoys working with digital processes for music making. Recent work has explored synthesising sound in ways that mirror acoustic processes in different ways: from direct simulations of guitars and brass objects, to more abstract systems.
This set is a live performance with the Gutter Synth: a digital synth that explores networked feedback between nonlinear oscillators.
The synth is available for free here:
London based saxophonist COLIN WEBSTER is quickly establishing himself on the European avant garde scene. Collaborating with some of the key figures in improvised and experimental music, Webster is known for working from extreme sonic palettes – from minimal to maximal, constantly pushing boundaries.
This set is based on the idea of ‘textural studies’ – taking single sonic statements, and exploring them to the fullest extent, and deliberately avoiding notions of structure or development. The idea came off the back of the duo LP ‘Terrain’ with Graham Dunning.
Produc£r, HacXer and Li\’eco<|er. MIRI KAT is a Livecoder / AV Artist / Producer from London. Interested in music tech, web technologies, hacking, creative coding, algorithmic music and generative visuals.
SERF: is a group that plays with melody and experimentalism, they play with the dynamics of storytelling. This 40 minute set has found sounds from summer solstice 2020 as well as the narration of the artists. Making a trippy headspace somewhere between there, space and here.

Noise Quest 5 – livestream electronic & experimental music – Wednesday 17th June

20:00 Sharon Gal

20:45 TYPE – Th Yorkshire Programming Ensemble

21:30 Me, Claudius

22:15 Ain Bailey

Please donate the price of a gig ticket or a drink here, to be split between all the artists after the show:

This episode of Noise Quest is supported by University of Warwick:
Connecting Cultures GRP and Innovative Manufacturing and Future Materials GRP.

SHARON GAL is an interdisciplinary artist, performer, experimental vocalist & composer, with experience of free improvisation and large group participatory compositions.
Her work explores explores presence, listening, embodiment, and the relationship between space, people and sound.
Her music was released by various labels, including five solo albums and many collaborations. Past performances include The V&A, Science Museum, ICA, The Whitechapel Gallery, Tate Modern & Tate Britain and Colour out of Space, Borealis, Supernormal and Supersonic festivals.

The Yorkshire Programming Ensemble (TYPE) is a collection of humans: Lucy Cheesman, Laurie Johnson, Ryan Kirkbride, and Innocent Granger, that meet IRL and URL and enjoy exploring rhythmic music in a collaborative virtual space and generally making a lot of noise.

Experimental music.
Some Welsh, lives in England.
Hates all her clothes.
The dog, very displayed,
The dog displayed a chance.
A chance birthday, the dog attentive.
We all tasted chance,
You can eat outside.
Twitter: @claudius_me
Instagram @theonlymeclaudius

AIN BAILEY is a sound artist and DJ. She facilitates workshops considering the role of sound in the formation of identity and recently held a residency at the ICA, London. Exhibtions in 2019 included ‘The Range’ at Eastside Projects, Birmingham; ‘RE:Respite’ at Transmission Gallery, Glasgow, Scotland, and ‘And We’ll Always Be A Disco In The Glow Of Love’, a solo show at Cubitt Gallery, London. Last year, Bailey was commissioned by Supernormal and Jupiter festivals to create and perform a new work, ‘Super JR’. Currently, following a commission by Serpentine Projects, she is conducting sound workshops with LGBTI+ refugees and asylum seekers.
Photo credit: Christian Nyampeta

The noise of the machine itself: mechanical music and the avant garde – radio show for RTM.FM

Twang Achoo Clang Oooff is a regular broadcast of artist radio shows on RTM.FM: RTM is a radio station based in Thamesmead, SE London, run by the artist space TACO! as a platform for community-produced culture, debate, art and music.

My show The noise of the machine itself: mechanical music and the avant garde is a meander through strange and unusual mechanical music over the last 100 or so years. Full info about each of the pieces below, with bandcamp links to the newer releases.

Tune in on Saturday 13th June at 8pm at

Full show now available to listen to here:

The noise of the machine itself: mechanical music and the avant garde.


With the invention of recorded music, machines which played the instruments themselves – such as fairground organs, player pianos, music boxes and barrel organs – went quickly out of fashion. Through the 20th century as music had the opportunity to become avant garde, the music machines were left behind. Where gramophones, tape recorders and turntables had an important role to play in the development of experimental music, there are fewer examples from the world of the fairground organ. This mix brings together various flavours of unusual mechanical music from the last 100 or so years up to today.


1. The Mighty Marenghi Fairground Organ – I Was Kaiser Bill’s Batman
From the 1970 album The Mighty Marenghi – Fair Ground Organ

“In this age of space travel and televised entertainment the simple pleasures of the old fashioned fairground seem remote, but the nostalgia of its magic glitter, its noise and bustle, the clatter of the machinery of its rides and its sham opulence which gave endless delight and pleasure to crowds, is immediately awakened when we hear the music of the traditional fairground organ.” – album liner notes

Fairground organs were always set up to play popular songs of the day – it was unusual for music to be composed specifically for the instruments. The instruments were designed to be loud, brash and draw attention to themselves.  There’s an odd layering of nostalgia and novelty in this track – the song playing here was only released three years previous to the recording, so not contemporary with the 1903 build of the machine, though with its reference to WWI it is itself nostalgic. A novelty song played on a novelty machine.


2. György Ligeti – Musica ricercata: No. 8, Vivace – Energico (Adaptation for Barrel Organ)
from the album György Ligeti Edition, Vol. 5 by Jürgen Hocker, Pierre Charial, Francoise Terrioux

Written in the early 1950s and typical of Ligeti’s later frenetic sound, this adaptation for a mechanical device brings precision to its playing. A rare setting of an avant garde piece on a mechanical instrument.


3. Conlon Nancarrow, Study for Player Piano No. 21 (Canon X)
Youtube video by Juergen Hocker, May 2010

“Recorded with the Ampico Bösendorfer Grand in the possession of Juergen Hocker, which was restored under the supervision of Nancarrow.”

Nancarrow used player pianos in order to compose pieces which would be impossible to play for a human pianist. A player piano is programmed using a piano roll – a roll of card with holes punched in it, which allow pneumatic switches to play piano notes. As such it’s a fully acoustic instrument. Most piano rolls include a green line to tell the operator when to change the master tempo, as such meaning there is some playability in the instrument, it’s still not entirely automated and the operator can introduce some character.


4. Mikael Ericsson playing the Millophonia
youtube video by Graham Dunning, uploaded 8th July 2018

The Millophonia is an experimental pipe organ built into a 100 year old windmill in Sweden by the artist Mikael Ericsson. The machine itself is bespoke, built from parts from old dismantled pipe organs and player pianos. The millophonia has no keyboard or accessible player controls, instead Erikson plays the piano roll itself – shuffling the timeline back and forth like a scratch DJ with a turntable, or covering and uncovering the organ pipes’ mouths to start and stop their sounding.


5. Mammoth Beat Organ – Song for Chimney Stacks
from Dunning & Underwood – The Blow Vol.5 released by Front & Follow, February 2019

Mammoth Beat Organ is a modular, mechanical music contraption, designed as a two-player, semi-autonomous musical instrument. It plays unusual, sometimes erratic compositions drawing on drone music, minimalist repetition and fairground organ techniques.


6. Aerodrones x Javier Bustos – (frag CICLO P#1 Casa Abasto 07/6/2015)
youtube video, uploaded june 2015

Aerodrones is a large instrument using balloons and a footpump to play reeds and pipes, shown as a sound installation and a playable instrument. “Balloons, valves, bellows and hoses make up a musical machine that requires the performer’s body to function as both a motor and an operator. ”

Javier Bustos is a sound artist based in Buenos Aires, Argentina.

7. Marcel Duchamp – Sculpture Musicale (Musicboxes version by Petr Kotik)

“According to Arturo Schwarz, the piece was written sometime during 1912 – 1920 /21, although 1913 is the most probable year. The Musical Sculpture is similar to the Fluxus pieces of the early 1960s. These works combine objects with performance, audio with visual, known and unknown factors, and elements explained and unexplained. A realization of such a piece can result in an event / happening, rather than a performance.”


8. Rie Nakajima – Bells
From the album Fusuma, released November 2019 by Tsss Tapes.

Simple machines made of things like motors pinging bowls and slowly circling whistles that grind around the floor. Single devices become a swarm as the artist introduces new units – they behave like micro-bots, organisms each making their own path.

9. Tim Shaw – Gorky Park Carillion – Moscow, Russia
From the album of field recordings, Impossible Music:

Mechanical bells rung daily from the church in the famous park.

10. Sarah Angliss – Needle
From the album Air Loom:

Sarah makes music using various home made instruments including the “robotic carillon, an instrument she devised and built to play bells at inhuman speeds, creating a haze of delicate, metallic sound.”

11. Sarah Farmer – Organised sound (by Gloggomobil, record player, timers and found objects)
Sound installation: Youtube video, uploaded July 2010

“The Gloggomobil functioned as programmable barrel organs, triggering a hammering action which hit the objects (glasses) and therefore made them resonate. The adapted record player acted as a wet finger to a wine glass, again causing the object to resonate at its natural frequency. A motion sensor timer switch caused the electronic objects to stop and start, adding a rhythmic structure to the sounds, which were partly arranged by the artist following existing musical and mathematical systems, and partly dictated by the technologies used.”

12. Jean Tinguely – Sound Sculpture f
Mp3 from ubuweb sound

Swiss artist Jean Tinguely (1925-1991) made large scale mechanical sound sculptures including motors, pulleys, wheels and cogs. The complex systems were deliberately ramshackle and some were designed to fall apart and self-destruct.


13. Daniel Padden & Sarah Kenchington – Tapered Things
from the album The Bellow Switch by Daniel Padden & Sarah Kenchington

“‘The Bellow Switch’ features the remarkable sounds of Sarah Kenchington’s mechanical instruments. All the instruments were played by Sarah, and the sounds were then recorded, edited and arranged by Daniel Padden.”

Sarah Kenchington’s contraptions form something between a fairground organ and a one-man-band setup; part pedal-powered, using pipes, buckets and a barrel sequencer to play a variety of musical instruments.

14. Pierre Bastien – Rail at a Liar
from the 2019 album Tinkle Twang ‘n Tootle

Pierre Bastien uses mechano machines alongside homemade instruments and household objects to produce surrealist compositions.


15 . Ignacio Rodriguez Llinares & Raul Cantizano –  Pelicano Mecanico & guitar on the streets of Seville
Youtube video from Juan Gonzalez, posted December 2015

Ignacio Rodriguez Llinares’ machine the Pelicano Mecanico makes flamenco rhythms mechanically. A series of 20 wooden beaters controlled by a series of cams, on a single rotating driveshaft. The player can add or subtract parts of the rhythm in order to intensify or simplify the pattern. The speed of the driveshaft is adjustable for master tempo. The combination of locked speed shaft and complex rhythms means the player can react and respond without ever going out of sync.

16. Remko Scha – Thrash
from the album Machine Guitars (1982)

Motors flicking pieces of rope against guitar strings, presented as performance-installations in the mid-late 1970s. Cited as an influence by New York no wave artists including Glenn Branca and Sonic Youth.

17. Rob Gawthrop – FREQUENCY (sound installation)
Algomech Festival DINA Sheffield 19th May 2019

“Frequency is a sound installation of two constructed single-string electric guitars with electric motors that tension and de-tension the strings very slowly. They are played with motorised spinning plectrums. Speakers to be positioned on opposite sides of the space. The ‘instruments’ at the front of the space. The work has a 19 minutes cycle. An installation of slowly shifting drone of harmonics, dissonance and beatings.”


Youtube video, uploaded 6th April 2020

A motorised hi-hat pedal loosely holds several drumsticks, hitting parts of a standard rock drum kit, sometimes shifting position to hit different drums. The player occasionally intervenes to move the sticks or add a cymbal to the surface of one of the toms. The overall effect is somewhere between a relentless mechanical rhythm and randomly shifting patterns – this could be a free jazz drummer’s intense solo set.


19. the VAPE – ETUDE 762220051
youtube video, uploaded 30th April 2020

Petr Válek creates haphazard mechanical sculptures to make noisy, rhythmical music. A prolific videomaker, posting several times per week, reveling in the absurdity of his creations with titles like HOMEMADE NOISE TUTORIAL EPISODE 20064 – his narration to the episode so overamplified as to become a layer of noise in itself.

ETUDE 762220051 features a contraption made of a motor, sticks and cans which flops and clatters around a metal plate on a wooden table. The relentless rotation creates harsh rhythms and an interplay of timbres. The short clip ends with the noisy buzz of the motor continuing to rotate after the assemblage has dropped to the tiled floor. All that remains is the noise of the machine itself.

Two new releases: Snare drum & turntable textural studies LP / automatic music handmade tape

Graham Dunning / Colin Webster – Terrain
Snare drum and saxophone explorations of texture and timbre. Released by Raw Tonk on 1st June, LP and download

Graham Dunning – Play It Today
Handmade tape of two extended automatic compositions: one using mechanical/electroacoustic soundmakers, the other using an algorithm and rave samples.

Pilots 28 – Dent de Lion, video by Amy Cutler – features the track Scaling from Terrain.

Graham Dunning and Colin Webster have worked together since 2014, and to date have recorded six albums as a duo as well as two trio releases with Sam Underwood. Until now the duo have utilised the same instrumentation – Colin on saxophone, and Graham on turntable and additional hardware.
On Terrain, Graham moves away from the turntable and exclusively plays snare drum and objects, often manipulating the skin with motors and fans. Combined with the saxophone, a sonic world is presented and then sustained without much noticeable development. In this respect, the nine tracks of Terrain can be seen as a series of textural studies. This different way of working for the duo eschews the usual rapid-fire dialogue that is prevalent in most improvised music.


Graham Dunning: snare drum & objects
Colin Webster: alto & baritone saxophonesRecorded at Sound Savers, London on 13 July 2018
Engineered by Alex Clegg
Mixed by Marlon Wolterink
Mastered by Dirk SerriesArtwork by Colin Webster
Layout by Rutger Zuydervelt

Raw Tonk Records 2020


Below: the making of Side A of Play It Today, using mechanical rotation (and a bass synth) to make a constantly shifting sound collage.

Recorded May 2020 using the Music by the Metre method.
Edition of 20 tapes, individually recorded with hand made recycled covers, and digital download.
The recordings were made with automated systems which were left to run, each tape recorded in succession so that each is different to the last while containing sound from the same set of sources.

Side A uses locked groove records, synth pulse and physically triggered home made instrument, the featherphone.

Side B uses the live-coding program TidalCycles: an automated composition that shifts tempo, timbre and rhythm over time, different parameters changing randomly or with different phase relationships.





Guest mix for Noods Radio

Monday 25th May from 21:00-22:00 Noods Radio, Bristol will host a guest mix, with some new stuff from the Fractal Meat label, some of my forthcoming releases, some speed garage and some other brand new techno, and some noise. Full tracklist and bandcamp links below, tune in at


Graham Dunning & Amy Cutler The Cultivator Was Ist Das (forthcoming)
Paul Nataraj Blue & Sentimental Fractal Meat Cuts
Disgusting Cathedral Yarefully Got or he Killse Cycluddy Braked Blace Rug Disgusting Cathedral
Kelly Bailey Half-Life12  
Justin Paton Acid Thaw Case Records
Graham Dunning Tunnel SØVN Records
Same People Dangerous Locked On
Ilana Byrne Hop Skip & Jump shebco sounds
Bleaker Hype (Funk) Unknown To The Unknown ‎
Grobbie Headshot (Samuel Deep Edit) SlapFunk Records
Nush Nush X:treme Records
DJ Rush Djax Up Beat Djax-Up-Beats
TFT Bleach Injection TFT
Rezzett Fire Bomb Rezzett
Graham Dunning Yellow Henge (Radio Occult) Every Contact Leaves A Trace
Swefn 1_221018 Ian Watson
Amy Cutler   it came from siberia almost like a walking machine Fractal Meat Cuts (forthcoming)
Mariam Rezaei NEPOTISM ft. Fritz Welch Fractal Meat Cuts

Live stream duo with Amy Cutler for The Old Police House

TOPH Housebound #9

Friday 22nd May, 20:00 – 00:00

Me and Amy Cutler will play a live set with handmade visuals and sound, using 35mm slides, torches, glow-in-the-dark goo, tapes, field recordings, synths and amplified objects.  The real-time film & sound collage will draw on DIY laboratory practice, dubious experiments and eerie coincidence. A resceduled perrofmance following the death of a laptop moments before starting a few weeks ago.

Full lineup below:

Yes yes yet again. Onward flails the esteem-powered circus tent on wheels of pompous ire. Lo self-moving sisypheans will call forth the this lot:

A new continent enters the fray! Live from Brazil, a warming hostile brew of serrated-edge plantmatter. Folded and refolded battery-acid-forged steel wool deep in the cheek, vibing vibing vibing.

Glaswegian ultra-post-rock guitar/laptop extravagations. Songform stretching spiderweb style, like dub shatteration on the axis of space rather than time, imbued with the voicing of the unacceptable.

Previously curtailed by laptop death, now a phoenix-like salvaging stagger. The egg-slicing mechanism will leap from the QVC of your nightmares onto finely plated noise-cress. The crinkles will spread from the corner of your eye across the entire ocular plain. It will I’m tellin’ ya!

Microidation of tubic lung-lunge through serial electunneling aparratus. A fine particulate matter to fibreglass you for a sideways look. Rapidly perishing.

The weird bitches whomst in other lives is PETRONN SPHENE and SLAYLOR MOON will bitch weirdly across the optifibres. Mindful electric filth of quarantine cooperage will be vomited forth into your baby bird mouths. Will what they do.

Oak-aged heartcraft from the pitscarred heathland of County Durham. Starkfelt sketchings of lifespaces through flat protestant vowels and strictly necessary guitar-bedding.

Anon brit-squank legend dons mantle of dehyphenated river cottager. Melted carrier bags of a certain calibre as a fine granite worktop substitute in a pinch. Bank voles all over the shop.



PANOPTICON Album Launch – Half-life with rave sounds playthrough stream

‘Half-Life’, all in-game sounds replaced with samples from 90s rave tracks and sample CDs. Join me for a live playthrough to mark the launch of the album. From approx 10am (uk time) onwards.
“The research consists of four main phases: The first phase involves extraction of the silhouette of an individual. Calculating the gait period or gait cycle of the individual follows this. Finding the sum of silhouettes is the next step. Finally, similarity score computation and matching process is performed for recognition. Any two images when compared using root mean square value are said to be similar if the value falls under the given threshold.” 1
“Spend a little bit of time with neural networks, and you realize that anyone holding something in their hand is likely to be identified as someone ‘holding a cellphone,’ or ‘holding a Wii controller.’” 2
releases May 16, 2020
Concept & execution by Graham Dunning
Mastered by Angel Marcloid
Album art by Alex Bertram-Powell
‘Half-Life’ by Sierra Studios
1 ‘Human Gait Recognition And Classification Using Similarity Index’, Nahid A Makhdoomi et al 2013 IOP Conf. Ser.: Mater. Sci. Eng. 53 012069 –
2 ‘Invisible Images (Your Pictures Are Looking at You)’, Trevor Paglen, The New Inquiry, December 2016 –

Noise Quest 4 – Live stream experimental & electronic music, Wednesday 13 May 2020

20:00 Andrew Lisle
playing with the concepts of the fluidity and rigidity of time

20:45 TVO
processing Gaelic psalms into droning techno

21:30 Void Hands
pure no-input mixer experimental techno

22:15 Shelly Knotts
code, data and networks lead down strange and diverse musical paths


Andrew Lisle is a drummer/composer based in London. He works in the fields of Free Jazz, and improvisation; performing with the likes of Colin Webster, Alex Ward, John Edwards, John Dikeman, and Rodrigo Amado. This performance will be a solo improvisation playing with the concepts of the fluidity and rigidity of time, a subject which has been an extensive study of Andrew’s.

TVO is Ruaridh Law; a sound artist and musician based in Paisley, Scotland; over 20 years he has performed in groups, in collaborations and solo across a wide range of festivals, arts spaces, venues and clubs as performer, improviser, DJ and artist, as well as hosting radio shows and writing.
He runs the Broken20 multimedia label, which has been releasing experimental music, DVD, cassette, vinyl and mixed media works over 10 years and 50+ releases; he has also recently set up further_in, an online streaming channel dedicated to platforming art from artists who have lost bookings, gigs and opportunities due to the global COVID-19 epidemic.


Void Hands is Richard Knight, a data artist, actively involved in music production, composition, and performance in addition to computer software development for artistic means. Currently based in the North of the UK, he is motivated by the interaction of organic and electronic phenomena. He is also known for pioneering a raw techno style purely with mixing desks (sometimes in collaboration with Juergen Ehrmann) and has released experimental pure no-input mixer recordings on the labels Concrete Moniker and Fractal Meat Cuts.

Shelly Knotts is an improviser who performs with computers and other humans. Interests in code, data and networks have lead her down strange and diverse musical paths from electroacoustic composition, through jazz and noise music to algorave. She experiments with generative and AI techniques and opinionated algorithms to make music. She has performed at numerous Algoraves and other live coding events worldwide, solo and with collaborative projects including algo-pop duo ALGOBABEZ. In 2017 she was a winner of BBC Radiophonic Workshop and PRSF ‘The Oram Awards’ for innovation in sound and music. By day she is a researcher at Durham University working on the research project ‘Musically Intelligent Machines Interacting Creatively’.