Aki Purser selected as a participant for this years RBMA in Berlin

Third year student Aki Purser has been selected to participate in this year’s Red Bull Music Academy to be taking place in Berlin. RBMA is an internationally acclaimed event where an eclectic group of emerging artists are given the chance to collaborate, create and learn from a series of sessions led by world-known music producers and industry specialists. The competition is often high and it not unusual to see participants from the Academy becoming professionals soon after their graduation. Aki’s unique approach to sound, image and dance made here stand out and in their own words

‘From the refined piano of Chilly Gonzales to the elegance of modern dance icon Pina Bausch and the precisely engineered music of producer Alva Noto, there is a certain delicacy connecting the influences of Brighton-based artist Akiko Haruna. Trained as a pianist, violinist, flautist and dancer, she is fluent in the rules of music and composition, which she now breaks with her experimental noise output. Akiko’s current project comes after two years as a professional dancer, during which she appeared in music videos for artists including AlunaGeorge and John Newman. Now a full-time music student, Akiko flexes her myriad abilities in her own work, including the 2017 video for “i, omega,” a surreal black-and-white pastiche in which she dances, stretches and smiles eerily at the camera over the glitches and fuzz of her far-out soundscape.’

Well done Aki!

‘resounding’ – a new piece by Jean Martin to be premiered on April 6th

Jean Martin will be premiering ‘resounding’ a new piece for piano, vibraphone, and flute on 6 April at 7.30pm as part of the Broken Line event.

The performance will be held in St. Luke’s Church, Brighton

Adam Bushell (vibraphone/percussion), Adam Swayne (piano) and
Helen Whitaker (flute)

Vetrarþoka (Winter Fog) (2015) – Helgi Rafn Ingvarsson (b. 1985) – Trio
Vibra Elufa (2003) – Karlheinz Stockhausen (1928-2007) – solo vibes
Invisible Worlds (2009) – Nicholas S. Omiccioli (b. 1982) – flute & piano duet
Resounding (2018) – Jean Martin – Trio


Adagio from Sonata No.1 for violin, transcribed for alto flute – J. S. Bach
Broken Line (2006) – Alvin Lucier (b. 1931) – Trio
For Morty (1987) (- Christian Wolff (b. 1934) – piano & percussion duet
LRL Anthem (after Gopi Sander) (2017) – Dave Smith (b. 1949) – piano solo
Carillon ( 1998) – Martin Butler (b. 1960) – Trio

Professor Kelly Snook @ ReBalance initiative to support female artists and producers

Professor Kelly Snook has joined ReBalance, a three-year programme from Festival Republic in association with PRS Foundation. The initiative aims to support female-led bands and solo artists by offering studio recording time. Professor Snook will produce an EP for Liverpool-based artist Mary Gregson-Miller.

PRS Foundation, the UK’s leading charitable funder of new music and talent development, launched the initiative for women this year building on its Women Make Music fund, which began in 2011 to support the development of women songwriters and composers of all genres and backgrounds at different stages of their career. More info here.

DMSA Feature: Sloth Operator Radio

This month we are taking to  Ivan Camps & Boogie Man Aka Álvaro Villar, both Year 3 students and producers of ‘Sloth Operator Radio’, a weekly broadcast of emerging techno music on Resonance Extra.

DMSA: Three Important words that represent you as a creative person.

I.C.: Perseverance, Integrity and exploration.

B.M.: Creative, alchemist and bored.

DMSA: When did you start working with sound and music?

I.C. I started back on 2008 when I formed a band with a friend and started creating music and gigging, meanwhile, also I was doing some DJ’ing in local venues in Brighton.

B.M. I went for five years to a music school playing guitar studying Classical music and Flamenco. I went to the Conservatory in Madrid, so I got a bit depressed because the little kids in my class were far better than I. Then, when I was 15, I discovered techno, left music school and started to produce with my computer and my old friend Luis. Luis had an old mixer from his uncle, who used to be a wedding DJ back in the 70’s, another friend bought a turntable and a stereo Hi-fi with cassette deck, and we started to record our first mix tapes. Those were really inspiring, challenging, and learning times because we played with a cassette and one turntable, so was just possible to mix one way, we looked for tracks with a melodic intro to be able to sync the cassette with the turntable.

DMSA: In What ways has the DMSA course supported or helped you to develop in to who you are today creatively and professionally?

I.C. Has helped me to understand better my creative instincts.

B.M. DMSA opened my mind musically speaking. All my life I saw myself as a Techno DJ “Superstar”. The course showed me that I could be ending composing music and sound design for TV, films and/or video games. The course has also shown me how to create my own sounds on ways previously unimaginable for me, like creating my own devices and sound field recording. Practices that blew my mind were the soundwalks lead by Dr. J. Milo Taylor.

Can you tell us a bit about Sloth Operator Radio?

I.C. The original idea comes from Álvaro, I liked it and joined the project.

B.M. The idea of creating a radio show came from my first year at University of Brighton. It was not successful and end it up just as an idea. A couple of years later I discussed the idea with Ivan and Kevin. We joined forces and developed the idea of the program’s format. Thanks to Maria Papadomanolaki who gave us the contact of Peter Lanceley in Resonance Extra we were able to start the broadcast of the program.

The program pretends to offer an alternative view on Brighton Club scene which lacks of the genres we play in our show.

DMSA:What are your plans for near future? Projects, events, visions…

I.C. Be a better DJ, lunching our own collective, releasing our own productions and running a night, at least once a month. Ideally weekly, about dance music (non-commercial) in Brighton.

B.M. The first thing to accomplish is to finish my final degree project and graduate at University of Brighton. Future plans?? As Yoda said, “Impossible to see, the future is”.

SOR Facebook Group
SOR Soundcloud

Sloth Operator Radio | Inaugural Transmission on Resonance Extra

Producers and sound designers, and DMSA L6 students, Ivan Camps and Álvaro Villar (aka Boogie) with Kevin Noon, recently launched the first episode of their radiophonic series Sloth Operator Radio, broadcast weekly on Resonance Extra, Thursdays 6-8pm.

Sloth Operator Radio is an electronic dance music show with special
dedication to the latest tendencies on Techno music in the U.K.

The 2 hours show is divided into two Dj sets, one run by guests, with a brief
interview from presenters , and the second half a Dj set run by hosts.
The program gives room to both emergent as well as established Djs who
give us their perspective on Brighton’s as well as U.K’s scene.

Sloth Operator streams real-time via Facebook Live, which also it is available,
at later stage, as podcast on Soundcloud and Mixcloud.

Podcasts contain a detailed track list of each set emitted on the show.
The show takes place at University of Brighton, broadcasting live with an


DMSA Feature: Louis Sterling (Y2 Student)

In anticipation of Loadbang~, we talk to Louis Sterling, a 2nd Year DMSA student who was in the organising team for the evant and who will be performing under his AUXX alias.

DMSA: Three words that describe you as a creative person?

LS: Observant, Exploratory, Technical.

DMSA: When did you start working with sound and music?

LS: I’ve been practically approaching music and sound from a very early age – around 8/9 years old. I’d been classically trained at the Bath Abbey under Dr. Peter King for a few years before leaving to explore my own musical interests. On early visits to Leeds, around 2010 – my dad and uncle still had copies of music production software from their contemporary electronic group from the early 1990’s, from where I naturally gained a curiosity in digital music and would persistently ask about their creative process. It was through an organic interest and drive for solving problems that I gained the technical knowledge and hands-on experience with composition, sequencing and sound design, with digital music technology now being is the center of my practise. This is through which I have progressively studied and self-taught different production techniques, and eventually settled with Ableton Live, occasionally dabbling amongst the MaxMSP and Gleetchlab environments.

DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

LS:The course here in Brighton has an incredibly strong community within such a thriving city for the arts. Back in my hometown the educational programs would section you into “academic” or “enterprise pathways, which is why I find it quite surreal to now be in touch with professionals such as Dr. Kelly Snook, formerly of NASA – who utilises the sound arts and her experience with digital music as the backbone to creating innovative technology, projects and scientific research. If it weren’t for these encouragements I’d assume the end-goal was to release more records and play gigs (which has been done in the past), as opposed to now planning for installations, composing soundtracks for films, studying projection mapping, programming computers or planning live events to name the very least.

Auxx – Underlying The Beautiful from Louis Sterling on Vimeo.

DMSA: Can you tell us a few words about your AUXX project?

LS: Auxx is an exploratory electronic project I’d began back in 2012. The alias was created to express my conventional approach to music, through which eventually branched out to more technical musical production, sound design and experimental compositional approaches. So far the project has achieved a discography of 5 releases, two of which were released this year; entitled “Spirit Image” (7” vinyl) for record store day 2017, and 23/09 (10” vinyl) signed to URBNET records, North America – and since been supported by BBC music. Sonically speaking, I’m from a background of hip-hop culture, but later came the influences of Warp, Detund and Ninja Tune, which is why the recent work is relatively up-tempo, full of breakbeats/glitches and more recently remixed by artists such as Kidkanevil (Red Bull), Valance Drakes (Detroit Underground) and later distributed onto vinyl for DJ mixes, radio shows, not to mention great followers of (relatively weird) electronic music.

DMSA: What are your plans for the near future? projects, events, visions?

LS: As for my artistic direction, I’ve discovered new musical and sonic approaches, writing and drafting new projects and gathering together an archive of works to be sent out for the new year. Recently I’ve been bridging the influences of my older work with ambient, electroacoustic and industrial soundscapes – not paying as much attention to genre, style or scene – and quite literally going down my own lane. A few weeks ago I’d been talking to The Dedekind Cut (Ninja Tune/Kranky), and through studying his work, it has really encouraged me to showcase my new material and live performance through the unfamiliar, but always maintaining the roots of hip-hop and soul that had brought us up. Whether this is showcased through future cover art, installations/performance or just through aesthetic, I don’t yet know, but it’s an approach that I’m in the process of refining for the new year.

I’ll be playing in Green Door Store and Komedia (Brighton), as well as the Art House and Exchange in Bristol. These will be followed with some new live/radio shows in London for early 2018. I’ve recently been in touch with NTS Radio London and some guys at Radar Radio, but as always, it will be a case of feeling most comfortable to showcase and perform the new works to these new and larger audiences as and when.

DMSA Feature: Olivia Louvel (Y2 Student)

Olivia Louvel is a French-born, British composer, producer and artist whose work draws on voice, computer music and digital narrative. As with many of the DMSA students, Olivia has come to  engage with sound, and eventually the course, through a unique pathway.  She has produced a body of  exiting and critically acclaimed projects and we are very happy to have her on the course, currently in her second year.

DMSA: Three words that describe you as a creative person?

OL: carver, organiser, experimentalist 

DMSA: When did you start working with sound and music?

OL: My initial artistic outlet was voice then theatre. Some time after I graduated from the National Conservatory of Dramatic Art but nothing was really happening for me as an actor (which in hindsight was probably for the best!) I began making some weird sound objects on a mini-disc with voice and found sound objects, it was very fragile, I didn’t have yet access to a laptop. Then I finally got an  iBook and with an Mbox I could run Pro-Tools and that was it, the liberation! My liberation of sounds. 

DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

OL: The DMSA course is helping me fill in some theory gaps and contextualise my practise. Being self-taught, I am joining the dots and it’s wonderful to learn to articulate my thoughts, talk, write an essay. It’s a laboratory for ideas, experiments and exchange. It is a privileged moment and I’m enjoying every aspect of it. Last year, I had the opportunity to compose a piece for multi diffusion channels, this was exhilarating. I also took part in a DMSA collaboration with the Brighton Youth Orchestra, supervised by senior lecturer Jean Martin. Along with two of my fellow students, Sonny Bacon and Luke Vosper, we had the opportunity to perform with the BYO at the Brighton Festival, it was a wonderful challenging experience. Throughout the course, I also stepped into the world of Pure Data, Max/MSP which opened new avenues of experimentation for me. There were certain projects last year which I am now planning to develop further into a new composition.

DMSA: Can you tell us a few words about your ACE-funded project ‘Data Regina’?

OL: Data Regina is inspired by the reigns of two queens/ rulers of the 16th century, Mary Queen of Scots and Elizabeth I. I was drawn to the life and writings of Mary Queen of Scots, a poet and essayist herself and one of the most read woman of her time. What surprised me the most is that we know very little about that creative aspect of her life. She documented her turmoil, her captivity (19 years) through writings. The last sonnet she wrote ‘Feb.8 1587’ was on the morning of her execution. I’ve assembled a digital narrative through songs and ‘battles’ which are instrumental tracks inspired by the 16th century battles on the Anglo-Scottish border. As well as the publication of a CD, there is a dedicated online platform www.dataregina.com  to showcase the 3D animations produced by young animator Antoine Kendall as well as curated historical references. I am very grateful for the Grant for the Arts received from the Arts Council. 

DMSA: What are your plans for the near future? projects, events, visions?

OL: I’m participating in our DMSA night at Komedia, ‘loadbang ~’, a night of electronica, experimental, ambience, glitch with live projection mapping. I will perform a short set of material from Data Regina, the event is the 5th of December. [fb event page]

Last month we launched with the DMSA the audio walk, ‘ReHear’, partnering with ‘Echoes’ a platform which allows you to create and explore immersive geolocated experiences. This fascinated me, it opened up new possibility to envisage sound in space, in the virtual in a near future…

Website:  http://www.olivialouvel.com/



Dave Osborne is Puncture Kit…a live drummer and electronic composer. His bicycle is his transport and drum kit and on 27th November, he’ll be setting up in the Performance Studio to give you a live demo.

You are invited to submit a work to be used in the session. Please send your compositions/field recordings and loops to m.e.papadomanolaki@brighton.ac.uk by no later than 23/11/17.

Dave has performed for the Brits, Glastonbury, The Tour de France and many other events throughout the world. He loves the outdoors and is also regularly seen performing in the streets both here in Brighton and in London.

For the DMSA demo, he has recently written a bunch of new electronic music…weaving in and out between many different time signatures and tempos…he loves the challenge of making sometimes complex timings sound danceable!
As an extra experimental side to the performance, Dave will be using abelton to trigger an array of sounds/ effects whilst improvising with his live beats.


SAVE THE DATE: Loadbang~ | Komedia | Dec. 5th | 21:30



A night of Electronica | Experimental | Ambience | Glitch
+ Live projection mapping.

From electronic artists to visual programmers, we’re bridging experimentallism with the knocks of the UK soundsystem. With an eclectic line-up of artists and DJ’s, it is an honour to showcase such innovative music from digitally-oriented creatives.

If you’re a fan of Warp Records to the more contemporary works of Ryoji Ikeda, Tim Hecker or Alva Noto – then this is not one to miss.

Jeph Vanger/Jack Lister
Olivia Louvel [Catwerk]
Auxx [BBC Music x URBNET]
Aki Purser & Oli Johns
Luke Vosper & Tarek Goraicy
Jamie Moore & Thomas Aurelius
Nile Ezra
Patrick McCauley

2LATE (High Focus)
Danny Baron
Samiriah Roye

DMSA Feature: Jeph Vanger (Y3 student) received Breakthrough Award

Greek sound artist/sound designer/music producer (aka Jeph1) and DMSA student Jeph Vanger was recently awarded the Norman Cook Digital Music and Sound Arts Breakthrough Award 2016/17 for finishing first in his year (Level 5). This is the second year this award has been around and it is a way for  showing appreciation to students who excel at their studies. The award was established by famous music producer Norman Cook aka Fatboy Slim.

On the occasion of the award, we asked  Jeph a few questions.

DMSA: three important words that represent you as a creative person

JW: Sound, Vibration, Viscerality

DMSA: When did you start working with sound and music?

JW: It was right after school (18 years old) when I sold my video game console to buy my first turntable and start experimenting with records, music and sounds.

Ithaca: upon every arrival, Teaser from Gesamtatelier on Vimeo.

DMSA: In what ways has the DMSA course supported or help you to develop into who you are today creatively and professionally?

JW: The Digital Music & Sound Arts course in Brighton has made me believe that every single creative idea can be possible through experimentation and exploration. It has also widen my music horizons and helped me to open my ears and listen. In a world where overwhelming amounts of information and screens are taking over our lives through passive immersion, I think that is important to return back to pure non-distractive listening processes. More importantly, the DMSA course has filled me with hope in regards to make my goals and dreams reality as, over this year, I have been already involved in 6 theatre and performance professional projects as a sound designer and composer. Moreover, through the course, I have exhibited sound and visual installations which have been originally made for one of the course’s modules. 

Henosis Installation Preview from Jeph Vanger Sound on Vimeo.

DMSA: What are your plans for the near future? projects, events, visions

JW: I am currently focusing on the development of my dissertation and also my final sound installation. Both of those are going to be related with how hand-made speakers can sculpt the final sonic result in a specific space -“Physical Sound Design” as I’d like to call it- and they are going to examine the relation of space and sound in general through the construction of original replicas of the historic Altec 1505b Horn which has been used in theatre spaces during the 60’s & 70’s. 
 In addition, in regards to my sound design & composition projects, I’m putting the finishing touches on the modern take of “The Picture of Dorian Gray” theatre play directed by John O’Connor. This play is touring in Italy for the next two months. I’m also going to be working on the sound design of “The Opportunist” short film about kleptomania directed by Matt Page
When it comes to events, after my last gig in Brussels, I’m about to announce new dates for my Dub music project “Jeph1”. I’m also performing an experimental set at Green Door Store in Brighton on the 4th of December for “Splitting the Atom” experimental/free/noise all dayer. 

My overall vision for the near future is to continue working on various sound and music projects which are different, but at the same time influencing each other.