Jorge
Camacho

Invited to sound design and compose for a short film directed by Amarbir Singh in New Zealand. The film is a surreal interpretation of acknowledging trauma, following the main character through scenarios which slowly become more closely tied to her fears.

For the music, cello recordings were combined with layered feedback harmonies from a six-string bass to evoke confusion and dissonance within the familiar setting of classical composition.

For the sound design, layered binaural recordings were phased against each other, creating spatial voids for background atmospheres.

An exercise to create an A/V program that could generate offspring from a selection of rhythm and light patterns — following the same principle of how DNA strands recombine, allowing for new pairings while retaining attributes from the previous generation.

The result is a Max/MSP program that slices and scans through a user's preferred light and sound patterns, producing new sequences based on the original "genes" of the user. The sequencer uses euclidean distribution, chance and shared automation to achieve patterns newly formed from the sum of their parts.

This creates a certain familiarity with new generations that slowly mutate over time into their own "families".

A clay vessel with bone conduction resonators attached inside. When activated, the resonators produce vibrations which resonate the vessel to produce sound until it shatters.

The goal is to create an object that presents a choice: keep something admired, intact and silent — or listen to it once but accept its mortality. Partly inspired by the Greek myth that swans make a beautiful sound just before their death, having been silent for most of their lifetime.

A contribution to Bastien Thiery for his exhibition HUMPELFUCHS at Weserhalle. The collaboration stems from Ambisonic recordings made while walking the same path and timeframe that Bastien used to locate his subject — an injured fox he regularly photographed.

The field recordings over three nights have differing levels of weather, human traffic and pace. The resulting paths were documented and illustrated, made available online for use with headphones or earbuds, and presented as a quadraphonic installation at Weserhalle.

This work came from researching naturally occurring rhythms within one waveform, achieved by fine tuning a Lock-in Amplifier/Phase Detector Model 121 by Princeton Applied Research at Waveform Research Lab, WORM Studios Rotterdam.

During the research it became clear that if calibrated correctly, the LA/PD could potentially zoom-in on waveforms until encountering micro-rhythms and rhythmic phasing — a diverse collection of sounds resembling human-made rhythms found within a single waveform.

Recordings were released as a Biodigital format. Each sale funding a minimum of 80 trees with Eden Projects.

Rumoured to have something to do with someone from the Experiences Ltd family alongside various other members of Berlin's underground fraternity, Downstairs People debut their skewed, blushing collective soul on Berlin / Manchester co-op INDEX:Records — RIYL Special Guest DJ, Steve Spacek, DJ Python, Fever Ray.

Not necessarily a sound one may readily associate with Berlin, Downstairs People craftily realign perceptions of R&B from the German city with a strong haul of ten tunes that naturally lean to the left, ambient side of that sound, but keep it remarkably on-point and effective. There are shades of what makes the music of D-Bridge and Steve Spacek tick, as well as shared mutual spirits with Space Afrika and DJ Python, but ultimately it's all characterised by the group's effortless, familial style — primed for loungin' on hot summer days in Berlin, Manchester or wherever you're relaxing.

No sharp edges or over-easy avant-ness spoil the flow; it's all laid out slow and syrupy with purring vocals and satin production that's easy to fall for. Between the slanted cloudrap channelling vintage Quasimoto in 'Some Music' and the floating R&B bumps of 'The Path', highlights run through the early Fever Ray-esque '2 Bedroom', the deftly heavy downstroke of 'Live', a classy piece of post-dubstep soul in 'Baby', and the autotuned hustle of 'Simulation'.

Glasgow's deep and fwd-looking techno loom twists out a pair of weightless-to-crunchy swang and ambient soul, parried by Vase & Conna Haraway in Department mode. Recorded in the Scottish Highlands, late summer '25, Department's eponymous union is a fine addition to a rich Scots lineage of deep electronic soul music with offbeat heft — as heard everywhere from BoC to Pub, Dave Clark projects and now these current standard bearers of future-facing club music, who share parallels in the wider scene with Hesaitix, Paperclip Minimiser or even Burial.

Call it ectosoul, in effect on the well-balanced transition from perfumed clouds of weightless bass into rudely pendulous, mid-tempo broken beat, and tougher breakstep on 'Cogent', before applying that anticipatory suss to an impressive ten-minute piece, 'Recovery', zooming in from widescreen ambient techno to glitching electronics, keys, and heart-in-mouth R&B vox like Alva Noto reworking deep Burial.