Regan Bowering is a percussionist, improviser and sound artist based in London. Her solo work explores various combinations of drums and percussion, objects, amps, speakers, and feedback. Her debut album “Solos for _ _ _ _ Spaces” (Dec 2023 on Bezirk Tapes) was described as “a play of contrasts, contradicting voluminous expressions with confined phrases, taming resounding feedback with faint percussive flutters, but one that feels driven by the desire to craft electrifying drama rather than pure autotelic dissonance.” (The Quietus). Her debut LP A Technology of Feeling was released in January 2026 on Infant Tree. She is one third of a collaborative project with Li Song and Conal Blake, with two releases: “2 Movements” (Feedback Moves, 2024) and “Music for Snare Drums and Portable Speakers” (Infant Tree, 2023). She is currently doing a practice-based PhD at Goldsmiths, University of London.
Regan Bowering’s first LP, A Technology of Feeling (Infant Tree, 2025), builds on the ideas and techniques of her debut solo album, Solos for _ _ _ _ Spaces (Bezirk, 2023). Her practice centres on drums, amplifiers and microphones intertwined in a multi-layered feedback system. Where the debut exposed the tensions and rhythms of control within this system to shape a distinct vocabulary, the new record deepens that exploration, reaching toward fresh terrains of musical and sonic expression. A Technology of Feeling continues to navigate the contrasts between spaces, materials and the body; control and release; percussive rupture and feedback’s continuity. Where Solos for _ _ _ _ Spaces attended to the acoustic, technological and architectural conditions shaping the performance, “driven by the desire to craft electrifying drama,” (The Quietus), A Technology of Feeling turns inward. Through her percussive feedback language, Bowering maps the shifting borders between inner emotional states and the external environments that shape them. The result is a work that crafts moods and architectures of sound—delicate, resonant, and unresolved—without seeking to contain the contradictions of lived experience. Its title points to this focus, framing technology as a means of producing, mediating and reflecting the atmospheres and feelings that shape the environments we move through.
Niloofar Asghary is an Iranian, Paris-based audiovisual artist and archivist. In her sound practice, she investigates the sonic potential of the no-input mixing board, using the feedback generated by the mixing console itself as her primary material. Through the careful equalization and modulation of frequencies, she shapes harmonics, rhythmic patterns, sustained tones, and multilayered textures. Her work explores the relationship between control and contingency in electronic systems, examining how complex sonic structures emerge from unstable and self-generating processes. “I try to keep sounds alive until their last breath. I cannot let them go. Things happen and I want them to stay as long as possible, like holding my own breath.”
Niloofar’s latest release is ‘Let us believe in the ruin of imaginary gardens‘ on the Superpang label.
Conal Blake is a musician from Glasgow. He currently plays solo and improvises with Li Song and Regan Bowering, using electronics and percussion. He also runs the Feedback Moves label. His latest record ‘Two Speed’ presents solo material recorded between 2021 & 2023. The material is woven together into a single piece and more specifically, the piece is presented over two sides, once as a live recording and again as a studio mix.
“The main chunk of this material comprises of no-input recordings that I made at a shared studio in Limehouse. These recordings were pretty raw, ugly and were almost binned. But I decided to try and zoom in on them and find fragments of sound that could be worked on, and added to, to form new compositions. I took straight tones and layered them, and took more rhythmic sections to make loops. The opening of the tape is a high pitched feedback tone which is then joined by a small fragment of sharp feedback which is repeated and rotated at varying pitches. Further along in the set I add some scattered hi-hats and mangled vocal samples.
