Now open: 'The Craftocene' by Superflux at Weltmuseum, Vienna

Superflux’s exhibition ‘The Craftocene’ is now open at the Weltmuseum in Vienna (tickets here).

I had a wonderful few days with the Superflux team back in February mixing and installing the sound across the three rooms of the exhibition. It’s a great show: there is some further detail about the exhibition sound design and individual pieces here.

The rest of the rooms of the Weltmuseum (and the museums surrounding it) are wonderful to visit (particularly the quite mind blowing scale of the historic musical instrument collection, of which more soon).

A debt of gratitude to everyone at the Weltmuseum for making us so welcome, and in particular to Christoph for working with me over the few days I was there.

To Vienna, a beautiful, epoch traversing city!

Score recording session for 'Of the Oak' at Goldsmiths Music Studios – Piano

Further documentation images of a recent recording session at Goldsmiths Music Studios in London for the score for Of the Oak by Marshmallow Laser Feast. The score is arranged for Lucombe Oak (Shozyg), Piano (Kat Tinker), Violin (Daniel Pioro) and Cello (Audrey Riley).

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Score recording session for 'Of the Oak' - Shozyg

Some documentation images of a recent recording session at Goldsmiths Music Studios in London for the score for the forthcoming installation work Of the Oak by Marshmallow Laser Feast. The score is arranged for Lucombe Oak (Shozyg), Piano, Violin and Cello.

More about the piece here.
More about Hugh Davies’ Shozyg instrument here.

 

Shozyg with Lucombe Oak elements, April 2025

'Ayouni' released online

Ayouni is now available to watch worldwide at www.ayounifilm.com

It was a great privilege to compose the score and sound design for the film, directed by Yasmin Fedda..

At a time when the dictatorship in Syria is still in power, and its position is being normalised, it feels crucial to respond to the crimes that have been committed in its name, and in the wake of the destruction it has created across the country. Since 2011, government forces, and other armed groups, have forcibly disappeared at least 100,000 people – making them absent, silenced, invisible.

Families and friends of the disappeared still face the difficult tasks of finding answers. In this context, it is essential to build and preserve a portfolio of war crimes that can be used for accountability and for eventual justice. Ayouni is a small contribution to this effort, bringing intimate stories and realities in focus.