17 April 19:00-21:00, 2 Fl. Bangkok Kunsthalle
Our grand opening concert is built upon community and global engagement. This program of ten pieces primarily consists of works by those who “answered our call,” and featured works by TEAMS supporters Adam Stanović (BEAN) and Mikel Kuehn (EMuSE).
(2021) – Mengtists (Theerawat Klangjareonchai) - 10m, live stereophonic audiovisual performance
An audiovisual performance inspired by the cultural values and traditions of Thai society, reinterpreted for the age of Digitalism. This work revives the spirit of traditional Thai music through the perspective of the new generation, blending the sounds of Thai instruments with electronic soundscapes and abstract imagery infused with Thai identity.
(2025) – Adam Stanović - 9m20s, stereophonic fixed medium
I am never quite sure what to think when listeners describe my music using the term ‘filmic’. Are they referring to a certain sense of space that is, perhaps, similar in both electroacoustic music and film..? Or perhaps it is a sense of dramaturgy or narrative that they find similar..? I am not sure. But whatever the case, my very first piece was described as ‘filmic’, and such comparisons continue to this day. Between Pictures is the first of my pieces that is intentionally filmic. It was my attempt to think through filmic connections in my music, and electroacoustic music more generally. It was also an opportunity for me to explore certain sounds that I previously recorded and composed for film but, sadly, never used.
(2023) – Dan Antoniu - 6m25s, stereophonic fixed medium with video
Electric Creek is a work that is made from recording of a creek in Madison SD. The creek’s recording is augmented slowly distorting the recording’s perceived reality. By combining recordings, processing, and video I hope to distort the perception of the recorded space and create a new perceptual environment for people to inhabit.
(2024) – Ben Gaunt - 8m, stereophonic fixed medium
The Leeds Cross stands in Leeds Minster. A sign in the minster describes the cross as a tenth-century Anglian stone monument, originally standing outside the church and later found built into the medieval structure during demolition in 1838. The pieces appear to have been produced in a single workshop, with artistic links to other crosses from Wharfedale. The upper sections depict Christian figures and Celtic knotwork. Below these are figures from Germanic mythology, including Weland the Smith, shown with the tools of his trade and a flying machine used in his escape. The sign notes that the juxtaposition of Christian and pagan imagery reflects the “mixed nature of tenth-century society”, and that Weland was sometimes reinterpreted as the biblical figure Elijah. I recorded violinist and composer James Gerrard playing On Ilkla Moor Baht ’at. This Yorkshire folk song is based on the hymn Cranbrook; like the Leeds Cross, it is simultaneously Christian and non-Christian. I also recorded James reading the sign describing the cross, and combined these recordings with bells, birds, and footsteps captured inside and directly outside the minster. I have attempted to replicate the cross’s beautiful, confusing, fragmentary character, and was inspired by its iconography, both Christian and non-Christian.
(2022) – Mikel Kuehn - 10m, 3rd order ambisonic fixed medium
In late February of 2021, I was astonished to discover that NASA made several raw recordings of the recently landed Mars 2020 Perseverance Rover available to the public. Inspired by the first ever recorded (atmospheric) sound from another planet, I began fantasizing about what the sonic environment of Mars might be like. This piece was constructed solely from four recordings capturing the sounds of the Martian wind, the rover driving, the rover’s mechanical parts (dust blower and various moving components), and the laser shots used to examine the properties of rocks. One additional recording was used: the inflight noise of the heat rejection fluid pump (recorded through the mechanical parts since there is no actual sound that propagates thought the vacuum of space). These minimal source sounds were then processed, spatialized, and combined/expanded into various suggestive textures. The result is my “artist rendering” of a fantastical narrative of the Rover’s journey though the sonic landscape of Mars.
(2019-2020) – Leah Reid - 10m30, quadraphonic fixed medium
Reverie is an acousmatic composition that leads the listener through an immersive fantasy centered around deconstructed music boxes. The work comprises eight sections that alternate between explorations of the music boxes’ gears and chimes. In the work, the music boxes’ sounds are pulled apart, exaggerated, expanded, and combined with other sounds whose timbres and textures are reminiscent of the original. As the piece unfolds, the timbres increase in spectral and textural density, and the associations become more and more fantastical. Gears are transformed into zippers, coins, chainsaws, motorcycles, and fireworks, and the chimes morph into rainstorms, all sizes of bells, pianos, and more.
(2025) – Bai Boyi - 7m27, stereophonic fixed medium
This work grows from a field recording made in Madobag Village on the Mentawai Islands, where children’s voices resonate around an old well. More than documentation, the recording acts as a sonic memory that transports me back to a moment of calm, sparking reflections on the contrast between the serenity of travel and the pressures of daily life. The piece explores the tension between two acoustic worlds. It begins by extending the gentle atmosphere of the island through soft drones and drifting textures, creating a liminal, dreamlike space shaped by memory and inner perception. This fragile soundscape is abruptly fractured by cold phone alarms and everyday noise, marking the collapse of the imagined space and exposing the conflict between longing and reality. As fragments of the recording reappear and merge with present-day sounds, the listener is suspended between wakefulness and recollection. The narrative remains open, shifting between memory, desire, and the unresolved pull of return.
(2024) – Daniel Mayer - 6m53s, quadraphonic fixed medium
Sound as mutual matter, it shall determine everything else: constellation and process, they ought to emerge from it, equitable, because without unfolding in time even the most sounding remains silent.
How do I find what I like?
Not at all, as I like what I find and I'm searching without knowing for what. It appears and queries me wordlessly, the talk develops within the experiment, the algorithms of transformation and organisation.
Matters 10 uses buffer rewriting, the simultaneous reading from and writing to the same buffer with varying speeds. The result of this procedure is highly unpredictable. However, algorithmic control of the various parameters is employed to contain the output and produce the formal structure and spatial distribution.
(2023) – Manuella Blackburn - 7m3s, stereophonic fixed medium
Interruptions dominate this composition, acting as pauses, abrupt stops, moments cut short and held breaths. These moments represent the many interruptions experienced in my daily life, in work, activities and composing. Interruptions are temporal states where continuity is ceased but then resumed or returned to after the interrupting event is over. In this work, interruptions are positioned as the main event; acting as focal points and instances to explore the creative potential of these typically unwanted occurrences. There are many different types of interruptions constructed throughout the composition. These show the different outcomes between successful versus unsuccessful interruptions, those that form segues to those that forcefully threaten and break down sound’s continuous presence. This creative experimentation with many interruptions is set within the context of home life and home sounds. These sounds tell a story, imitating interruptions to flow, being in the home for extended periods and all this entails.
(2026) – Juan Manuel Escalante - 10m, live stereophonic audiovisual performance
"∞ there" is an audiovisual performance that translates multiple aspects of our dystopian condition to the viewer into sounds and images. Modern machine surveillance, military notation systems, doomscrolling pseudo-headlines, and code-generated nuclear weaponry come together to present a uniform vision of our problematic modern society.
A graphic score, visible to the audience, serves as an arrangement mechanism and expands the listening experience. Most of the sound has been generated using modular synthesizers, and a smaller portion using field recordings.
Theerawat K. (b. 1989, Bangkok) is a media artist and educator whose work explores the intersection of digital and physical realities. Through immersive installations and time-based media, he investigates how emerging technologies reshape perception, memory, and experiential space. Active internationally, he also teaches digital media and spatial design, sharing his expertise with the next generation of artists.
Adam Stanović composes music with recorded sound. In recent years, his music has drawn from both studio and location recordings, using both digital and analogue technologies. Adam’s music follows in the traditions of musique concrète, in the sense that it involves the direct (physical) manipulation of sound in ways that have been compared to the plastic arts, such as sculpture, painting, and pottery. His music always employs a fixed medium, but is sometimes accompanied by instruments, electronics, film, and animation.
To date, he has won prizes, residencies, and mentions at competitions around the world, including: Prix CIME (France); IMEB (France); Metamophoses (Belgium); Destellos (Argentina); Contemporanea (Italy); Computer Space (Bulgaria); Ise-Shima (Japan); SYNC (Russia); Musica Viva (Portugal); Musica Nova (Czech Republic); Ars Electronica Forum Wallis (Switzerland); KEAR (USA); MusicAcoustica (China); Prix Russolo (France), Red Jasper Award (USA); Uljus (Serbia).
Many of his pieces have been composed in studios around the world, including those of the IMEB (France); Musiques & Recherches (Belgium); VICC (Sweden); EMS (Sweden); Leeds College of Music (UK); CMMAS (Mexico); Holst House (UK); Mise-En_Place Bushwick (USA); Bowling Green State University (USA); Sydney Conservatorium of Music (Australia); and GRM (France).
Drawing on the intensity of sound and his Romanian heritage Dan Antoniu creates visceral sonic experiences. Utilizing gestures, transformations, and electronics Antoniu’s work serves as a ritual to create new perceptual environments for the audience and performers to inhabit.
Ben Gaunt is an UK-based composer, sonic artist and improviser whose work is rooted in place, listening, and the textures of everyday environments. His music often draws on specifically English landscapes, histories and atmospheres, translating them into electroacoustic and experimental sound worlds.
His work has been performed and presented internationally across Europe and North America, including performances in the United States and broadcasts on BBC Radio 3, as well as radio broadcasts in Germany and Canada. He has worked with a wide range of performers and organisations, including the London Symphony Orchestra, and his music has been featured at major UK festivals and venues. He has been nominated for the Ivor Novello Awards.
Alongside his fixed-media and electronic practice, his music has been selected through international open calls and competitions; in 2024 he was Composer in Resonance at the Leeds International Piano Competition Piano Trail Festival. He regularly performs his own music and works with electronics in both composed and improvised contexts.
He is Professor of Composition at Leeds Conservatoire, where he teaches and researches contemporary composition, electroacoustic music and experimental practice.
The music of American composer Mikel Kuehn has been described as having “sensuous phrases... producing an effect of high abstraction turning into decadence,” by New York Times critic Paul Griffiths. A 2014 Guggenheim Fellow, he has received awards, grants, and residencies from ASCAP and BMI, the Banff Centre, the Barlow Endowment, the Chicago Symphony Orchestra, Composers, Inc., the Copland House, the International Destellos Competition on Electroacoustic Music, the Fromm Music Foundation at Harvard, the League of Composers/ISCM, the MacDowell Colony, the Ohio Arts Council, the Virginia Center for the Creative Arts, and Yaddo. His works have been commissioned by the Civic Orchestra of Chicago, Ensemble 21, Ensemble Dal Niente, Flexible Music, the Grossman Ensemble, the International Contemporary Ensemble, violist John Graham, clarinetist Marianne Gythfeldt, cellist Craig Hultgren, guitarist Dan Lippel, Perspectives of New Music, pianist Marilyn Nonken, Selmer Paris, and the Spektral Quartet, among others. Kuehn received degrees from the Eastman School of Music and the University of North Texas. His music can be heard on two New Focus Recordings portrait albums, Object/Shadow (2016) and Entanglements (2022). A member of the Eastman School of Music composition faculty, he directs the Electroacoustic Music Studios @ Eastman (EMuSE).
Leah Reid is a composer, sound artist, researcher, and educator whose work ranges from opera, chamber, and vocal music to acousmatic, electroacoustic, and interactive sound installations. A Guggenheim Fellow, she has been honored with awards from the American Prize, the International “New Vision” Composition Competition, the KLANG! International Electroacoustic Composition Competition, Musicworks’ Electronic Music Competition, Sound of the Year’s Composed with Sound Award, and IAWM’s Pauline Oliveros Award, among others. She has received fellowships from the Hambidge Center, MacDowell, the Virginia Center for the Creative Arts, the Ucross Foundation, and Yaddo.
Reid has collaborated with and received commissions from ensembles including Accordant Commons, Blow Up Percussion, the Boston New Music Initiative Ensemble, Excelsis, Guerilla Opera, Neave Trio, and the Piedmont Duo. Her music has been presented at major international festivals and venues across the Americas, Europe, Asia, and Australia, including IRCAM’s ManiFeste, BEAST FEaST, MUSICACOUSTICA-HANGZHOU, Prix Russolo, and ICMC. Most recently, she was awarded a Barlow Commission for a forthcoming work with the Grossman Ensemble.
Reid currently serves as IAWM’s Vice President, Vice President for Projects and Programs for SEAMUS, and as an Assistant Professor of Composition and Computer Technologies at the University of Virginia. Additional information is available at www.leahreid.com.
Boyi Bai is a composer and sound artist whose works explore the intersections of soundscape composition, field recording, and VR immersive audio. His pieces have been showcased at various international festivals and events, including Sound/Image (London), MANTRA (Ecuador), PAYSAGES | COMPOSÉS festival (France), Click Fest (Ohio), Sonic Nomads (Seoul), Rádio SOMA (Brazil), Sound+ Environment Symposium (Newcastle), MA/IN Festival (Rome), BBC Radio 6, Radiophrenia (Glasgow), Radio Suyai TV (Chile), Sonic Arts Forum (Maynooth), Sound Junction (Sheffield), Sonic Sculptures 3 (Nottingham), San Francisco Tape Music Festival, River Radio (Exeter), and the Royal Institution's Theatre (London). Through a blend of environmental sound and electroacoustic techniques, Boyi’s work aims to create immersive listening experiences that challenge perceptions of space, memory, and auditory storytelling.
Daniel Mayer (*1967) is a composer with a focus on works including electro-acoustics and active in the fields of sound synthesis and generative computer algorithms. He studied pure mathematics and philosophy at the University of Graz (MSc, MPhil) and music composition (MA) with Gerd Kühr at the University of Music and Performing Arts Graz, Austria. 2001/02 postgraduate study at the electronic studio of the Music Academy of Basel, Switzerland, with Hanspeter Kyburz. Since 2011 working at the University of Music and Performing Arts Graz/IEM, from 2011-2014 scientific cooperation within the FWF-funded artistic research project Patterns of Intuition, since October 2016 visiting professor for electro-acoustic composition. From 2014-2017 curatorial work at Kulturzentrum bei den Minoriten, since 2016 together with Gerhard Eckel and Marko Ciciliani for the concert series signalegraz. In the winter term 2022/23, he was Edgard-Varèse guest professor of DAAD at TU Berlin.
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. Her music focused on intricate details and the clustering and careful arrangement of small sounds within clear, polished sound worlds. Her sound recording of everyday objects, environments and instruments make their way into new pieces through the transformation of the ordinary into the fantastical.
Manuella’s music has been performed at concerts, festivals, conferences and gallery exhibitions in Argentina, Belgium, Brazil, Canada, Chile, Costa Rica, Cuba, France, Germany, Italy, Japan, Korea, Mexico, Portugal, Spain, Sweden, and the USA.
Escalante is an artist and designer working with computer code, modular synthesizers, and analog drawings. His work has been showcased in major festivals and exhibitions worldwide, including OFFF, Mutek, Ars Electronica, CURRENTS New Media, FILE, and the Athens Digital Arts Festival, among others. He was a member of the National System of Art Creators (2017-2019 National Endowment for the Arts, MWX) and received the Corwin Award (1st prize) for Electronic-Acoustic Composition in 2016.
Escalante holds an MFA in Architecture Design (UNAM) and a Ph.D. in Media Arts & Technology (University of California, Santa Barbara).