Sunik Kim is a musician, writer and filmmaker currently based in Los Angeles. Their recent work attempts to unfold problems of perceptual and temporal distortion through computer-generated sound. Their writing on subjects ranging from Korean communism to Conlon Nancarrow has been featured in The Wire Magazine, Pitchfork, Bandcamp Daily, Tone Glow and elsewhere. Their latest album, Formenverwandler, was released on London-based label Feedback Moves in 2025. Drawing from her extensive research on composer Conlon Nancarrow, Formenverwandler sees Kim exploring the time or tempo canon, which can pull and project the listener’s senses, melting the temporal and spatial perception of presented sounds. As in previous works such as 2022’s Raid on the White Tiger Regiment and 2023’s Potential, Kim deploys patches and tools she has designed for SuperCollider, which take raw, utilitarian General MIDI notes and multiply and spray them into frenetic webs and networks of spiraling sound.
John Wall is a London-based composer who has been active since the early ’90s, when he acquired his first sampler, a Casio FZ-1, at the age of 40. Beginning with more recognizably plunder-based sampling works, he has gradually scraped and scoured his sound to a razor’s edge, reducing his basic material from the “block” to the fragment, the sliver, the millisecond. Wall’s meticulous, constantly morphing process has resulted in works that bend and warp an astonishing complexity of raw sound materials into dense, arcing auditory constructions riven with contradiction: between the highest and lowest frequency spectra, between concussion and stasis, between near-silence and the klaxon. In his work we hear the constant working-through of a problem, the ever-torturous escape from the terminal trap; process, thought, is laid bare just as it is obscured and folded into that at-times brash, at-times austere, always agitated torrent of organized sound. (Tone Glow)
Scott Gordon
At the heart of Scotland-based producer, composer and instrument maker Scott Gordon’s Metals is his custom-made, self-built SPI (Spinning Plate Instrument), an instrument he constructed from industrial scrap metal bars, which are hung from a large vertical wooden frame, the metal struck by mechanical beaters driven by small motors. The bars spin when played – manually or by MIDI – emitting warmly resonating drifts of sound, sympathetic tones that resemble electronic sources, tintinnabulations in an electroacoustic lineage with Harry Bertoia’s architectural sound sculptures. The SPI is not tuned, or cut to scales, so each set is a study in pitch, rhythm and texture via unexpected objects and instruments.
Gordon works across experimental music, AV projects & sound objects, but was inspired to build the SPI and began recording Metals after experiments recording metal, car springs, pipes, and sheets. He describes the SPI as being like “a big vertical glockenspiel”. Previously to this release, he has released on Editions Mego as one half of Oto Hiax, a collaborative project with Mark Clifford of Seefeel (Warp Records), as well as a series of EPs and an album under his Loops Haunt alias via the Black Acre imprint.
