Sketch 001 released on Bandcamp – raising funds for Campaign Zero

Sketch 001 is released 5th June on Bandcamp to raise money for Campaign Zero. All proceeds will be donated. The track is a quick sketch of a working of two recordings that listen to the wind through a small gap in a wall and a window frame respectively. Click the image below to go to Bandcamp.


freq_wave trajectory 1: North Sea to Red Sea now live on Ocean Archive

Access the mixer for trajectory 1 HERE

freq_wave is a rogue wave: unpredictable, sudden and impacting with tremendous force. 

freq_wave: seven seas” begins 23rd May 2020 with the first oceanic trajectory featuring the work of 12 sound artists and artist groups united in a monster wave to bring oceanic creativity to the fore. The first in a series of seven releases, meandering around the trajectories of TBA21–Academy’s latest long-term research commission, Territorial Agency: Oceans in Transformation, explores the aquatic sounds of the trajectory North Sea to Red Sea, highlighting the hidden ecosystems of the Ocean through a web-based sound installation to call attention to the threatened soundscapes of the sea.

freq_wave: seven seas” is a collaborative sound project unleashing 84 rouge sound artists for the Ocean. Curated by Carl Michael von Hausswolff , co-curated by Alonso Vázquez and commissioned by TBA21-Academy, the project will gradually unfold on the online platform Ocean Archive.

We are the first frequency
Tommi Grönlund and Petteri Nisunen
@massiftrophies (BJ Nilsen)
@melodyastruth (Jonny Nash) and Esmee Geerken,
@prehberg68 on Twitter (Peter Rehberg)

Join us on the Ocean Archive and #UnleashTheFreq for a living Ocean!

New release “Lines of Flight” on Touch: Isolation Subscription

“Lines of Flight” is a new composition made in lockdown in Los Angeles, during April 2020. Based on field recordings from Death Valley in June 2019.

It is available from May 4th exclusively as part of the subscription to Touch: Isolation – a response by Touch to the current Coronavirus situation and its impact on artists. Subscribe HERE for 20+ tracks from different artists, released on a rolling basis twice a week.

Sendspaace on NTS Radio

Mix contributed to Sendspaace on NTS radio, broadcast on 3rd May and archived HERE. The mix travels through music via a selection of my field recordings. Featuring music from Yair Elazar Glotman & Mats Erlandsson, Catriona McKay and Chris Stout, Anne Müller, Claire M Singer, Roly Porter, Rafael Anton Irisarri & Siavash Amini, Chris Watson, and Erlend Apneseth. With second half of mix by Jamie Hudson.

“Beyond the Mortal Eye” installation selected for Sound Scene 2020 “UnScene”, Smithsonian’s Hirshhorn Museum and Sculpture Garden

The sound installation “Beyond the Mortal Eye” will be included in the program for Sound Scene 2020 “UnScene”, at the Smithsonian’s Hirshhorn Museum and Sculpture Garden, details below and on the website.

SOUND SCENE 2020 “UnScene”
An interactive art exploration of the sounds we miss, the invisible, internal
and not-yet-amplified elements of our world (and other worlds). 

June 27+28th, 2020 
Smithsonian’s Hirshhorn Museum and Sculpture Garden
All Ages Welcome

Presented By DC Listening Lounge Audio Arts Collective

Now in it’s 13th year, Sound Scene is an annual exhibition that features sonic surprises, multi-sensory art and thought provoking creative opportunities– produced by DC-based artists as well as national and international contributors.  Sound Scene celebrates the sonic magnetism of Washington DC and has featured work from Michigan, New York, Los Angeles, Philadelphia, Spain, Italy, India, Armenia, South Korea, Germany, and elsewhere.

Crater Lake National Park Artist-in-Residence, Fall 2020

Excited to be selected as Artist-in-Residence at Crater Lake National Park for Fall 2020. I will spend two weeks in September exploring the Park and making recordings for a work to be produced later in the year. I will also lead a public listening session during the residency, more details to come…

Bethan Kellough, Sublamp and Precious Child at Coaxial, Los Angeles 24th February

Presenting an installation of field recordings and a new ambisonic composition at Coaxial in LA next Monday, 24th February. The installation will play from doors open (7.30pm) to the start of the program, which features my short new work “From Antiquity”, before performances from Sublamp and Precious Child.

DOORS AT 7:30p, SHOW AT 8p

Coaxial, 1815 S Main Street, Los Angeles

VOLUME and Coaxial are pleased to announce an evening of sound installations and performances by Los Angeles-based artists Bethan Kellough, Sublamp, and Precious Child.
Featuring a diversity of approaches to organizing both sound and its relationship to the audience, whether mediated by a performer or not, this program expands on VOLUME’s interest in the politics of perception and the relationship of sound to place.

Bethan Kellough is a composer and sound artist known for releases including 2016’s Aven EP on Touch, as well as her work for film, including a contribution to Terrence Malick’s 2019 A Hidden Life. Field recording is a central part of her work, and she enjoys learning about the Earth through listening. For this event, Kellough will be presenting a sound installation of her field recordings that will be active from the moment doors open to the start of the event program, which will commence with the debut of a new ambisonic work entitled “From Antiquity” by the artist.

Sublamp is Ryan Connor, a sound artist and engineer who has been active since 2005. He recently returned to Dragon’s Eye Recordings, run by VOLUME member Yann Novak, with Sister Maps, his first release for the label in a decade. Inspired by a three-week tour of recording live episodes of ‘Comedy Bang Bang’ through 19 cities, Sister Maps contemplates the impossibility of knowledge or understanding place when presented with only fleeting glimpses of it. While listening to an album is generally considered a linear experience, the six tracks of Sister Maps, each exactly twelve minutes in length, flow into one another in a manner that complicates the idea of placing works in parallel. The listening experience transforms, like moving through space while a möbius strip of the same twelve minutes repeats around you, or like meandering through an unfamiliar city with only your personal experience available to understand it.

Visceral and surreal, Precious Child’s prolific body of work exists at the convergence of conceptual art, alternative pop, and psychedelia. Via music and visual media, the Los Angeles-based artist culls sonic inspiration from soulless mainstream trash, synthy industrial, and ornate metal to create audiovisual work that confronts transformations in identity, perception and the nature of existence. Their recent music video “WHOLE” premiered via PAPER Magazine. “WHOLE” marked the latest work resulting from the artist’s close collaboration with multimedia digital art/director Cade, whose work explores the worlds of fetish, gender deconstruction and post-internet intimacy.

Place Language

Place Language, a compilation of 28 different artists’ works inspired by Robert MacFarlane’s book Landmarks, is out now on Bandcamp. It includes “Black-east from the Crow” – a new work made for this project, and all proceeds go to War Child UK, helping children displaced by conflict. Read more about the project on the Bandcamp page.

The Field Recording Show

Listen again to The Field Recording Show episode 3, featuring interviews with Chris Watson and Polly Stanton, and a new short piece entitled ‘Dunes’, based on recordings from Eureka Valley.


The Eureka Dunes in California are one of about 40 sites around the world where the sand dunes ‘sing’ or produce a resonating tone, given the right conditions. When I recorded this in June 2019, the sound occurred a number of times, each time following a similar pattern of events. The wind picked up, blowing across the face of the dune and whipping grains of sand into motion. This movement of the sand grains is what causes the resonating sound to build, but while the wind was still buffeting my ears and the microphones, it was almost inaudible. As the wind eased, a tone, around F (peaking at 87Hz and 174Hz), emerged clearly in the soundscape. I heard it first through the hydrophones buried in the sand, but as the air became still, I was able to hear it without mediation, taking my headphones off and listening as the tone continued. After the wind stopped, the singing didn’t die away, but instead built to a crescendo during which I could clearly hear the tone, and also feel the vibration through my body as I sat on the surface of the 700ft sand dune. Positioned around half way up I could see for many miles down Eureka Valley – a view that takes in the two mountain ranges that enclose the valley, stamped with the marks of the processes that produced the forms currently visible, including the particular structure of the Eureka Dunes that produces this incredible sound. As the resonance finally stalled, with a slight rise in pitch as it did so, I was left in near silence with this image extending out into the distance. Moments later, the wind rose – again disturbing the surface of the dunes into rolling clouds of sand particles, and the process began once more.


Dunes is a short, ‘first impression’ piece, made shortly after recording this environment, and drawing upon the experience described above. The sound the listener is left with toward the end is the recording of the singing dunes as it emerged, crescendoed and stalled.





The Field Recording Show

Episode 3 of The Field Recording Show airs on Resonance Extra on Sunday 8th September, and features a new short work entitled Dunes.