In post-apocalyptic Germany, a critically injured boy stumbles through the forest until he reaches a clearing where he collapses. He is discovered by Lukas, an armed survivalist and loner, who decides to carry him through the desolate landscape in search of first aid.

As the journey wears on, the weight of the boy — and of Lukas's own motives — grows heavier. The world around him seems to slip out of shape, and by dawn the cool light of a new day makes his reality clear, though it no longer resembles the world he thought he knew.

Original score composed by Jorge Camacho. Sound recording, mixing and design by Elvin Jay Alfaro. Cinematography by Dominik Friedl.

A four-part documentary series that takes us into the lives of the people from both sides of the line who experienced the Tūhoe raids of 2007, when government forces attacked a remote New Zealand indigenous community in search of domestic terrorism.

An in-depth and personal story, as told by the people of Tūhoe — young adults who were children caught up in the raids, artist-activist Tame Iti, as well as politicians and police officers. Told with retrospective insight, film excerpts and archives along a personal ride deep into the valley.

Original co-composition for episodes 2 to 4.

DSP Sound is a web-based label releasing compositions that seek innovative approaches to sound design and processing. Works are available for licensing in film, advertising, and commercial projects, and archived on an independent platform with spatial environments and customized playback.

SPF — the Spatial Processing Field — is the instrument that label runs on. It turns mixing into a gesture. Every sound becomes a luminous orb you place by hand across an open field — horizontal is pan, vertical is gain — so arranging the space is writing the mix. Nothing is hidden behind menus; the balance is something you see and move.

Each orb carries a full signal path: binaural automations that orbit a source around the listener's head, cross-phase modulation and cross-convolution that let voices reshape one another, and tempo-locked delays — all feeding a live, audio-reactive glow so the field visibly breathes in time with what you hear.

It runs free in any browser, no install, no account. A native VST plug-in is on the way.

Scan is the standalone sequencer of DSP Sound. Samples are laid out across a single field and a line sweeps across it, sounding each one as it passes and morphing between them in between.

Placement is the score: where a sample sits sets when and how it is read, so sequencing becomes a matter of arranging the field rather than filling a grid.

Like SPF, it runs free in any browser — no install, no account — a standalone instrument today, with a native VST plug-in on the way.

wrec is a heuristic sound abstractor built in Max/MSP that treats recorded audio as plastic, malleable material. By redesigning the relationship between time and playhead, sounds can be stretched into dense textures or slowed into subharmonic rhythms that no longer resemble their origin.

Pitch and frequency shifting operate in tandem to generate stereo width and spatial depth — experimenting with the plasticity of time as a compositional parameter rather than a fixed axis.

ISP — the Interactive Spatial Player — is the pocket-sized member of DSP Sound, a stripped-back spatial field made for the phone. It opens with four random sounds as orbs and asks you to play the room with your hands.

Drag an orb between the dry, hall, delay and phase-modulation corners to morph its processing; pinch it to pitch it up or down; shake the phone to re-roll a fresh set of sounds; hold and tilt to record a binaural automation that orbits the source around your head.

It runs free in any mobile browser — no install, no account.

Instra — the Image Spectral Synth — lets you take a picture and hear it. Each image is read column by column, left to right, and sung back as a stack of sine waves.

Bright pixels become partials and height in the frame becomes pitch, all snapped to a scale. Press and slide the photo to sculpt its contrast and hue, choose a pentatonic, hirajoshi or whole-tone tuning, and set the read-out to loop or fire once.

It runs free in any browser, on mobile or desktop — no install, no account.

A live set built for four speakers placed around the audience, where every sound is diffused radially — sources orbit, expand and collapse across the room rather than sitting on a stereo line. Spatial movement becomes the primary gesture: material is panned and rotated live so the music arrives from all directions at once.

Premiered at Public Records in New York — the first quadraphonic set ever performed in the venue. The set was built around usiq, driving a mix of broken drums and chopped acapella slices spatialised live across the four channels.

Drawing on the same spatial thinking behind SPF, the set is mixed in the round in real time — placement, distance and rotation are played as instruments alongside the sound itself.

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.

Three works share a single preoccupation — objects built to perform once and end themselves. Each sets the same terms: keep the thing intact and silent, or let it run to its conclusion and lose it.

Complt — A clay structure that descends a string suspended from the ceiling. Its centre of gravity was designed to pull the base toward the string; two strings set horizontally across the piece produce a harmonic drone as it slides slowly downward when released. Played to its end, the piece breaks itself, so the listener must keep resetting it — reset and loop the work, or allow it to reach its absolute ending.

SwansongVessel — 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: keep something admired, intact and silent, or listen to it once and accept its mortality.

Soft Tissue — Impermanent materials chosen to create a time-based sculpture designed to unfold and degrade, its half-life determined by the weather. Two shapes were formed from plaster, cardboard and local newspapers to stand upright when folded, their folds joined with soluble plaster. Placed outdoors, the sculptures slowly unfolded and decayed over the course of three months.

Composed as accompaniment to a performance piece by Amelia Emma Forrest. Inspired by low frequency sounds heard from within the human body, all sounds were sequenced from a single pulse.

The results were lathe cut to transparent vinyl encased in red soft-PVC, mimicking a fertilised egg in the womb. Each piece included the carved out sound representing the "negative" used to reproduce the recording. 30 units were produced.

"A journey of a nurturer in three parts constructed on a backwards timeline. The After symbolises the individual's adventure of finding oneself alone again. The Arising the adventure of the nurturer becoming a carer. The Conception symbolises the individual's prenatal adventure."

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.

So far, the releases on INDEX:Records — from artists like Gi Gi, XENIA REAPER, Ike Zwanikken and others — have been crinkly and candlelit. The Glasgow label's latest pushes into comparably pummelling terrain.

Games's Quarter Tone Sub toys with choppy bass, reminiscent of trap from the 2010s. Translucent, broken-beat drums pound above hovering voices, glued together by dramatic compression. In spite of its abrupt nature, Quarter Tone Sub possesses a glassiness that makes me imagine a Black Dice track frozen beneath a thick sheet of ice.

'Sabotage' by Downstairs People appears on INDEXOXO<3, the third volume in INDEX:Records' Valentine's series of nocturnes — "a salve to soothe all burns of desire. For where there once was love, ever shall its void fill with longing." Final mix by Ike Zwanikken.

VASE's 'Ache' features on INDEXOXOXL, the second in INDEX:Records' pan-sensory Valentine's series — "an atomised, sway-inducing solution to seduce and ensnare the most sated souls." Released 'pay as you feel' on Valentine's Day 2022, curated by Conna Haraway & King Softy and mastered by Ike Zwanikken.

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'.

Amos' Flat is a three-part album by VASE in collaboration with Opal Tapes & INDEX:Records — "an odyssey of sonic manoeuvres through ambient, bass and IDM." Music written and produced by Jorge Camacho, with co-production from Lawrence Goodwin on 'BV133' and additional sounds drawn from Ash Turner's Metamorphosis sculpture.

Room 1 opened the album as a 12" LP via INDEX:Records in 2019. Room 1 & 2 followed the same year on double cassette through Opal Tapes. Room 3 closed the set in 2020 as a remix release on Opal Tapes and INDEX:Records, with 'In', 'Beech Tool' and 'Resolve' reworked by Pyur, Katsunori Sawa and Basic House — from Pyur's searing rework of 'In' to Basic House's slow radiophonic dismantling of 'Resolve'.

VASE's 'Content Locked' features on Amateur Vampires, the vast compilation marking Opal Tapes' 150th catalogue number — "a survey of names, new and old, whose work covers the gamut of tastes that Opal celebrates," where VASE balms proceedings with swung-out minimalist strokes of Cubano rattle.

Written and produced by Jorge Camacho, Dorsal EP is a genre-bending 12" for Glasgow's INDEX:Records that folds layered ambience into rhythmic, IDM-leaning techno. Tracks like 'Aviolet' and 'Kinto' balance in an eclectic techno realm, music the label describes as suited to anywhere "from big industrial spaces to soft forest beds" — missing music found in a subaquatic cave.