Two gigs in Scotland

This month I’m playing twice in Scotland, my first visit North of the border since playing with Blood Moon in Glasgow over ten years ago. Playing at Whiteroom in Edinburgh on Thursday 7th and The Old Hairdressers in Glasgow on Sunday 9th. More information on both shows below.

For these shows I’m playing a new set which has elements of various projects and approaches: including lo-fi sound sources like crackly field recording records and cassette tape loops, contact-miked objects; alongside mechanically triggered electronic drum sounds and live coded sample playback, which includes randomness from the algorithm. Here’s a little clip from my rehearsals earlier in the week:

SoA3: Graham Dunning / Arma Agharta / Shiori Usui / Joe Coghill
Thursday 7th February 2019, 19:00
76 East Crosscauseway, EH8 9 Edinburgh, United Kingdom
[facebook event page]

Sounds of Art #3 presents…


Graham Dunning is self-taught as an artist and musician having studied neither discipline academically. His live work explores sound as texture, timbre and something tactile, drawing on bedroom production, tinkering and recycling found objects. He also creates visual work, video and installations drawing on these themes.
Much of his work evolves through experimentation with different processes: considering the methods by which sounds become music; process as a continuum encompassing both improvisational and procedural methods; and testing analogous processes across different media.
Graham has performed solo and in ensembles across the UK, Europe and Canada, and exhibited in the UK, Europe, New Zealand and USA. He teaches Experimental Sound Art at the Mary Ward Centre in London and also gives various independent workshops. He has released through Entr’acte, Seagrave, Tombed Visions and more.


Arma Agharta is a sound-performance artist and promoter from Lithuania devoted to improvised and
experimental music. With more than 451 performances in his baggage, he is one of the most active performers from Europe. In 2018, celebrating 20 years involvement in the global DIY music scene, he started a world tour, starting in Europe and heading towards North America and Southeast Asia.
His intense, high energy shows span a broad territory between eruptions of chaotic noise and hypnotic psychedelic ritual to dadaist humour, odd bodily movements, spontaneous improvised games and the voice, detached from meaning and turning into unintelligible glossolalia.


Originally from Japan, Shiori Usui is a BBC Proms commissioned composer and improviser based in Scotland. The Times newspaper described her as a composer with “entirely individual ears” after the successful premiere of the piece “Liya-pyuwa” for piano quintet at Wigmore Hall, London in 2006.

Shiori has produced works in radical instrumental music, and has worked with motion capturing sensors and biophysical technology. Many of her compositions are inspired by the sounds of the human body, the deep sea, and many other weird and wonderful organisms living on Earth.
Shiori has been a recipient of numerous awards and fellowships, including Toru Takemitsu Composition Award 2012, Civitella Ranieri Music Fellowship in conjunction with the UNESCO-Aschberg Bursary (2010), BBC Scottish Symphony Orchestra/Cove Park composer’s residency (2012), Birmingham Contemporary Music Group/Sound and Music composer-in-residence (2013-2014), Scottish Chamber Orchestra Connect Fellow funded by BBC Performing Arts Fund (2013-2014) for working with children with additional support needs, Ricordi Lab publishing deal from Ricordi Berlin (2016) and Scottish Awards for New Music for large ensemble (2018).


Joe Coghill is a multi-disciplinary artist, musician and experimental publisher, living and working in Edinburgh. He graduated from Duncan Jordanstone College of Art in 2015 with a BA Hons in Time Based Art and is currently studying a Masters in Contemporary Art Practice at Edinburgh College of Art. His practice explores cultural production within a post-conceptual context often using sound, video, performance, social sculpture, facilitation and media distribution. Borrowing from multiple spheres of influence, his scattered output operates from a liminal position. Coghill works in an improvised and often haphazard way, incorporating disparate field recordings, modular synthesis and other sonic ambiences to create unpredictable and ephemeral multi-layer audio visual performances.



Mesange, Lauschmann, Dunning, Deere
Sunday 10th February 2019, 19:30
The Old Hairdressers, 20 – 28 Renfield Lane, G25 Glasgow, United Kingdom
[facebook event page]

Mésange is a collaboration between composer/violinist Agathe Max and composer/ musician Luke Mawdsley. Mordant musical tapestries (Minimalism, Drone and Ambient) are washed in dense electric skies, exposing signs that flutter and flare in dark elegance.

Torsten Lauschmann’s art is notable for its innovative and idiosyncratic approach across a range of formats including video, photography, sound, online projects, performance and installation. He is interested in the earliest forms of magical and cinematic entertainment, as well as the latest technological advances. He tweaks the mechanics of both digital and analogue technologies, producing works that explore our relationship with machines, as well as our understanding of the moving image and illusion.

Graham Dunning explores sound as texture, timbre and something tactile, drawing on bedroom production, tinkering and recycling found objects. He also creates visual work, video and installations drawing on these themes. Much of the work evolves through experimentation with different processes: considering the methods by which sounds become music; process as a continuum encompassing both improvisational and procedural methods; and testing analogous processes across different media.

Leslie Deere is a UK based artist. From Tennessee. Performing Arts Dance Background. Sonic Art. Drone. Lo-fi. Field Recordings. Collage. Sculpture. Expanded Cinema. Photography. Time Medias. Printed Material. Hacking Culture. Interactive Technologies. AI. VR. AR. Gesture Sound. Mesmerism. Post New Age. Post Net Clara Rockmore. Perspective. Immersion. Affect.

Mammoth Beat Organ debut album: Dunning & Underwood – The Blow Vol. 5

Available now from Front & Follow, the first album of recordings made with the Mammoth Beat Organ.  Throughout 2018 me and Sam Underwood built a semi-automated noisemaking fairground organ. In August that year we spent a week in the studio making recordings with it – resulting in this album.

‘The Blow’ project brings two artists together to formulate a collaborative release of their own making. Each artist has a side of audio to do whatever they want with. The two artists are encouraged to work together on the release, but the length and depth of this collaboration is completely up to them and agreed on a release-by-release basis – there are no set parameters, no fancy rules, no memorandum of understanding, no initiation ceremonies.

Each edition of The Blow comes on limited edition cassette with artwork by letterpress artist David Armes of Red Plate Press ( and download.

While me and Sam worked together on the project, we decided to split each side of the tape by which module of the MBO was most used — one side makes more use of the wind sequencer, the other the rhythm unit.



Tonus – “Ear Duration” CD release and gigs (Netherlands/Belgium)

Tonus is a minimalist abstract music project by Dirk Serries with a changing lineup of musicians. I played with the group in 2018 for a studio session, Ear Duration, which is released on 19th January and available to pre-order now here. I’ll also play two shows with the group: January 19th in the old church of Charlois, Rotterdam (Netherlands); 20th at Oratoriënhof in Leuven (Belgium).

The album Ear Duration is available to pre-order now here, released on the 19th January.


Limited edition lathe cut 12″ from 2014

Available now, two recordings of Mechanical Techno dubs from very early in the development of the project: recorded at Dog Tunnel Studios in south London in 2014. Each track uses samples from rave records, sliced records for rhythms, solenoid-pinged broken cymbal, analogue synth and lots of the studio’s handmade plate reverb.

Dog Tunnel have a 100% analogue set up – including recording, mastering and cutting to dubplate. The sound on the records themselves has never been through a computer (the digital counterparts are direct transfers from analogue tape).  Dog Tunnel Records charge more for the digital only edition than with the records themselves, in an attempt to encourage more physical sales. Each record is individually cut to order. You can listen to the tracks and buy from the label’s bandcamp page.



Live set for International Conference on Live Coding, Madrid

The ICLC takes place from 16th to 18th January in various venues in Madrid, with presentations, performances and algoraves throughout. I’ll play a set using mechanical techno and TidalCycles at the inaugural concert on the 16th.

For full information on the conference and its related events, visit the website, here.


Live coding refers to the creation and modification of algorithms with a creative purpose in real time often in the presence of a physical or virtual audience. The community is diverse and seeks to engage in a wide cross-section of artistic practices including but not limited to music, audiovisual creation, performance, robotics, dance, scientific research and education.

Live coding is primarily developed inside the free culture movement, and encourages self creativity rather than cultural consumption. Also diversity inclusion and respect has always been considered a fundamental part of the thinking around this practice in live coding communities. For more information on live coding, please refer to the TOPLAP website and to previous editions of these conferences.

The fourth International Conference on Live Coding (ICLC) will take place between the 16th and 18th of January 2019 and will be hosted by Medialab-Prado and other neighbouring institutions and cultural agents of Madrid. The conference will consist of presentations, performances, concerts, workshops and other activities grounded in the field of live coding with the aim of exploring the richness and diversity of the practice driven by the creative power of its international community which include Livecode NYC (USA), TOPLAP Node Yorkshire (UK), TOPLAP Node North-East (UK), TOPLAP Node México (MX), Cybernetic Orchestra (CA), TOPLAP Berlín (DE), TOPLAP Medellín (CO), TOPLAP Buenos Aires (AR) o Live Code Mad (SP) o Netherlands Coding Live (NL) among others.

Mammoth Beat Organ workshop and demo, London

On Saturday 15th December, me and Sam Underwood will run a workshop (3pm) and a demo (7:30pm) with the Mammoth Beat Organ, both at Iklektik in London. Info on both below.

Hack the Mammoth Beat Organ
Sat, 15th Dec 2018 @ 15:00 – 17:00
Iklektik, Old Paradise Yard, 20 Carlisle Ln, London SE1 7LG

Join us for the first ever opportunity to hack Sam Underwood and Graham Dunning’s amazing music machine the Mammoth Beat Organ, 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.

In this two hour workshop, participants are invited to get up close to the machine and experiment with some of the mechanical sound-making modules: the Rhythm Unit, which plays beats via hot-swappable cams; the Wind Sequencer, which sends blown air down a series of tubes depending on a chosen sequence; and the Wheel Unit which runs a tombola, a record player and an intonamouri.

Having become familiar with the system and how it works, participants are invited to make and hack some DIY instruments to use on the machine: shakers, pipes, whistles, rollers, beaters and fog horns. Furthermore, the workshop is an opportunity to test new ideas on the setup, and help us explore new possibilities we might not have considered.

A wide selection of materials and tools will be available for use, and you’re invited to bring along anything else you want to test out on the machine. We’ll end the session with an open improvisation using all the new bits and bobs on the Mammoth Beat Organ.

Hackoustic Christmas Party 2018
Sat, 15th Dec 2018 @ 19:30 – 23:00
Iklektik, Old Paradise Yard, 20 Carlisle Ln, London SE1 7LG

It’s that time of year again – log fires burning, Christmas pudding in the oven and rampant commercialism taking over your consciousness. Give yourself a break from the madness and join us at our annual Christmas party!

We have an incredible lineup – absolutely not to be missed.

Robert is a composer and technologist who’s worked with Massive Attack, Hans Zimmer and the Los Angeles Philharmonic Orchestra among many others. He’ll be talking about adaptive systems, algorithmic, generative, stochastic composition, procedural generation and machine learning/artificial intelligence and sharing his experience of working on some of the largest and most exciting projects out there.

Graham Dunning and Sam Underwood will demoing their two-player, semi-autonomous mechanical musical contraption the Mammoth Beat Organ for the first time in London. Check out this How Do They Make It !? video for a preview of this amazing machine. Sam and Graham will also be running a workshop in the afternoon where you’ll have a chance to hack the organ for yourself. Tickets for that will be released soon so keep your eyes on our social channels.

Alessia will present her project Aural Fabric fresh from Ars Electronica 2018. The installation is an interactive textile map that reveals the sonic character of the architectural and natural elements encountered during a soundwalk of Greenwich, London.

Andrew will be premiering his brand new and interactive Water Bowl Piano. Some of you may remember his installation Kinetic Tones from previous Hackoustic events and we can’t wait to see his latest work!


The Hackoustic Orchestra will make it’s return – expect to be astonished by a musical extravaganza the like of which has never been seen :)
Instrument building with Vulpestruments and Tim Yates
The wonderful #BarrysLounge, our resident DJ and Design Thinker!

Mechanical Techno & live coding set for super/collider, London

Final outing for the mechanical techno setup this year on Wednesday  5th December at Ace Hotel in London, playing alongside maker/noisemaker Look Mum no computer. Full details below.

Advance tickets here.
Facebook event page here.

super/collider presents: Sound Machines

Wed 5 December 2018, 19:00 – 22:00
Miranda, Ace Hotel, 100 Shoreditch High Street, London E1 6JQ

join us for “sound machines”, part of super/collider’s “science of sound” series at Miranda in the basement of Ace Hotel, London. There will be live performances of DIY sound machines from Graham Dunning and the opportunity to handle creations by Look Mum No Computer. Graham Dunning will perform “Mechanical Techno” which comprises of several looping records which spin on the same axle, ensuring they stay in time. Dunning then layers up groove records, audio triggers, analogue synths and mechanical percussion such as cowbells or cymbals. The result is a fascinating live performance which can never be exactly replicated. Look Mum No Computer will perform, demonstrating how the machines work. He will then set up a range of DIY sound machines, including modular synths, the a hundred oscillator megadrone, a lightsaber theremin and circuit bent furbies so that you have the opportunity to try the machines out for yourself.