Recording yesterday at dawn with Ansuman Biswas and Jem Finer for a project for Longplayer, working with the Neumann KU100 binaural head at Trinity Buoy Wharf lighthouse.

The start of March 2026 will see the opening of a four room exhibition by artist group Superflux, The Craftocene, for which I am composing a series of sound scores, spatial sound pieces and a film soundtrack.

Following its installation over the Summer at the Royal Botanic Gardens, Kew, Of the Oak by Marshmallow Laser Feast for which I wrote the score and composed the spatial sound design is being installed at Yorkshire Sculpture Park, where it will be open to the public from December 2025 until March 2026.

‘Ayouni’, a film about the human cost of the disappeared in Syria during the Assad regime, by Director Yasmin Fedda, for which I did the sound design and wrote the score, is coming to London, with a screening at the London Palestine Film Festival on Saturday 22 November (tickets here). I’d love to see you there - it’s a rare chance to see the film in London.

Documentation from a day working with Appau Jnr Boakye-Yiadom on his After: Compliments (defrost version 2025) piece at the South London Gallery. Lovely to work with trumpeter Shanise Hall who gave an extraordinary 4-hour performance that we streamed live into the Clore gallery space as part of the event.

A new work Of the Oak directed by Marshmallow Laser Feast, for which I have written the music, and created the spatial sound design, is opening on 3rd May 2025, and will be exhibited for the Summer at the Royal Botanic Gardens, Kew.

The Mother Goose series of sound box constructions that I have been working on will see their first exhibition in coming weeks, at the Glasshouse, Newcastle. The exhibition runs for four months from April through July, and is free to access.

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).

“The most spectacular work in the show concerns this secret labour. The artist collective Marshmallow Laser Feast take us on a psychedelic film journey underground to reveal the astonishing role of fungi roots in breaking down and recycling dead plant and animal matter to enrich the soil. This flowing network twinkles like a highway by night, glowing with miraculous colours and sending up the life force into a mushroom above, which in turns sheds its spores out across the air – altering the world’s weather. Merlin Sheldrake’s commentary – about the wild intimacies of our coexistence with soil, how being is always being with, and so on – is pure poetry. And the film continues without cease in the most perfect ecological loop.”

Sam Battle (Look Mum No Computer) visited Goldsmiths recently to see the EMS VCS4, which we have been having restored, and which Simon Desorgher kindly donated to sit alongside the Hugh Davies Collection that I have been looking after.

I’m really pleased to be co-curating (with the inimitable Ian Stonehouse) a concert of works by the composer Daphne Oram, as part of the Contrechamps series at Auditorium Ansermet, Geneva on 6 February 2025. Oram’s tape works will be spatialised over a D&B Soundscape system within the Auditorium Ansermet. Further information on the Contrechamps website here.

'Poetics of Soil: Fly Agaric I' by Marshmallow Laser Feast, for which I have composed the 12.1 soundscape and composition will premiere as part of the forthcoming exhibition ‘SOIL: The World at Our Feet,’ at Somerset House, London at the end of January.

Evolver the collective virtual reality experience by Marshmallow Laser Feast, which I directed the sound and created the sound design for is premiering in the UK at Oxford University in October 2024. The piece has an ambisonic sound composition and features music from Meredith Monk, Jóhann Jóhannsson, Howard Skempton and Jonny Greenwood as well as a voiceover by Cate Blanchett written by the poet Daisy Lafarge.

Over the last few years, I’ve had the pleasure on working on the film Maria by director Nina Danino. Part of the process has involved working with a number of incredible musicians to improvise and respond in recording sessions for the soundscore the underlies the piece.

Each year, as a way of celebrating the vision behind Longplayer’s long term aspirations, the trustees of Longplayer invite leading cultural thinkers to conduct a public conversation inspired by the philosophical premise of Longplayer, a project which unfolds, in real time, over the course of a millennium.

This year’s speakers are Dr Sada Mire (Archaeology Professor at UCL) and Richard Sabin (Principal Curator of Mammals at the Natural History Museum).

28 September at the British Library, London.

‘Living Symphonies’ by Jones/Bulley, an immersive landscape sound work that grows in the same way as a forest ecosystem is being exhibited at Compton Verney from April to August this year. It portrays the activity of the forest's wildlife, plants and atmospheric conditions, creating an ever-changing symphony heard from a network of speakers hidden throughout the forest itself.

In November 2022, an Artist Citizens Jury was constituted by artists Elizabeth Price and Nina Wakeford at Goldsmiths CCA to explore and represent the experience of artists in Universities. Based on the model of a Citizens Jury, a form of participatory action research widely used in public and civic settings, the Artist Citizens Jury worked as a group to consider the following questions: Given the presence of artists in universities, and the recognition of practice-led research, how can parity be ensured with other disciplines? How can the allocation of research funding support art in universities?

The ‘Document of the testimony, deliberation and reflection of the Artist Citizens Jury 2022’ comprises a transcript of the event alongside recommendations and other associated materials including a proposal for an ‘Object for a citizens jury’ by artist Inbal Strauss.

I’m looking forward to acting as a witness speaking about practice research for this event at Goldsmiths CCA coming up from 12 November – 13 November 2022.

City of Trees by Matthew Rosier for which I have composed the soundscores alongside NYX and Laura Misch, is now open, and runs from 5–11pm November 4–10 2021 outside St Mary Aldermary Church in the City of London, England.

Sonic Ray – a new installation produced by Artangel, celebrating the 1,000 year-long musical composition Longplayer, created by artist Jem Finer. Originally scheduled for 2020, Sonic Ray was commissioned to mark the 20th anniversary of Longplayer, which began playing from the lighthouse at Trinity Buoy Wharf at midday on 31 December 1999 and will continue to play until 2,999 when it completes its cycle as the longest piece of music in history.

From the lighthouse, a bridge of light is beamed across the river to North Greenwich, encoding and transmitting the sound of Longplayer to a new temporary listening post aboard Richard Wilson’s nautical sculpture Slice of Reality. A short ferry ride will connect the two locations, allowing visitors to experience Longplayer as a bridge of light across the river at both locations.

Some recent experiments of mine with Geofóns, Hydrophones and contact microphones can be heard in this 6Music mix from Laura Misch. Listen here.

The weekend of the Autumn Equinox (25-26 September 2021) will see the opening of a forthcoming film-sound installation, Pontefract Giants, created with artist Matthew Rosier and poet Daisy Lafarge at Pontefract Castle, Pontefract, West Yorkshire:

I’ve recently finished the sound design for a new film, A Thousand Fires by director Saeed Taji Farouky. It is a visceral, temporal portrayal of life in the Magway region of Myanmar.

A recent composition project that has just seen the light of day is a four room spatial soundtrack for the top floors of the Kew Palace exhibition George III: The Mind Behind the Myth. The composition is based on George Frideric Handel’s Keyboard suite in D minor ( HWV 437), which was a favourite of King George III. The work for Kew Palace unfolds across four rooms, with the audience progressing through the composition as they move through the exhibition.

I’ve put together a soundscape to celebrate the launch of Bricks from the Kiln #4. It’s now streaming on Wax Radio.

Today marks the publication date, after nearly three years of work, of two reports, written as part of a collaborative post-doctorate with Dr Özden Şahin, on the subject of practice research in England, commissioned by the Practice Research Advisory Group UK (PRAG-UK) and funded by Research England. Published by PRAG-UK and the British Library.

The two Bulley-Şahin reports are published by the Practice Research Advisory Group UK (PRAG-UK) and are available Open Access here.

A 4 star review for ‘Ayouni’ in the Guardian Newspaper today, written by Peter Bradshaw.