Listen With Others No.6 – December 4th 2025
This programme takes inspiration from key elements of Cosey Fanni Tutti’s practice, including her exploratory use of electronics, her performance-based methods, and her commitment to pushing sound beyond familiar forms. This event was part of Humber Street Gallery’s public programme to accompany their exhibition Incognito by Cosi Fanni Tutti.
1. The Spiral by Puce Mary (5’39’’)
Working more precisely than ever, ‘The Spiral’ binds the listener in a tight web of sharp synthesizers, hammering percussion, obscured vocals, field recordings, and blistering noise. Puce Mary manages to at once honour the history of industrial music and noise, as well as transform it. ‘The Spiral’ is harsh, but the aggression of the compositions never feels unnecessarily overstated. It is an album that is easy to get dragged into but brutally hard to get out of, disclosing the underhand of control as censurable nurture.
https://puce-mary.bandcamp.com/album/the-spiral
2. I can’t stop thinking about it by Félicia Atkinson (13’25’’)
There is that instance, when you are passing over a threshold, where the before and after fall away and it is only the threshold itself that you are existing within – that neutral space of the in-between, of the transition, that becomes the actual lived-in moment. It is through fully occupying and being present in that transitional space that we are able to access new perspectives that allow for a reassessment of things previously thought understood. The five tracks that make up Everything Evaporate feel like a sustained moment of focus during a period of transition; a longer breath taken in that actual lived-in moment.
https://feliciaatkinson.bandcamp.com/album/everything-evaporate
3. Grafts by Kara-Lis Coverdale (22’31’’)
Grafts is a piece in three parts that expands upon the virtual processing technique heard in A 480, however, the works of Grafts differ in that they contain significantly more unaltered multi-instrumental part writing weaved in counterpoint to stems of the una corda, and are thus hybrid in nature. Each sound and melody is performed by the fingers and wrists through b/w keyboard input, split up to four ways, then re-pitched and re-woven through a band-and-forth grafting procedure of layering and securing on a four-channel processor. End arrangements are derived from pitch-shited stems called “scrubs.” “Scrubbing” is the process of creating a sound (out of a sound) not for existence of the sound itself, but for it to be completed by others which surround it. Tonal structures are constructed by stacking interdependent layers of shelved frequencies (rather than equal tempered pitches) to produce frequentially-terraced composites of scrub-based melodies and arrangements.
https://kara-liscoverdale.bandcamp.com/album/grafts
4. mohabit 27.53 by Axel Dörner (27’53’’)
Axel Dörner is one of the most unique voices in free improvisation. He developed a completely different language for the trumpet in the late 1990s. Most of the ensembles he is part of are characterized by a non-hierarchical collaboration of the musicians involved.
https://axeldoerner.bandcamp.com/album/mohabit-2753
5. The Afterlife, Pt.3 by Delia Derbyshire (35’13’’)
The Afterlife Part 3 was created for a radio production exploring ideas of consciousness and survival after death. Built from interview recordings, environmental sound, and Derbyshire’s signature tape-based processing, the piece blends spoken material with carefully manipulated electronic texture. It reflects her ability to transform documentary voices into a shaped, atmospheric sound environment, supporting the drama while extending her experimental approach to radiophonic storytelling.
https://open.spotify.com/track/1SUUGoKJE1kXMaLnAYeHBv
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