Amorphous Sounds is a London based independent label that has grown out of Deep Throat Choir. It describes the collaborative and porous practices of the artists making work in the choir, and gives name to an already existing collective of music makers from a wide-range of disciplines. It is a statement of intent for future cross-stitched imaginings, both within and outside the choir. The label is founded by Luisa Gerstein and Anika Mottershaw.
Auclair is a British-Rwandan music and sound artist. Her work explores rhythm, voice and electronica – treating everyday life like new mythologies and taking an embodied approach to exploring ideas with sound.
Her versatility has lead to a wide range of projects and collaborations including: live rework / scoring of Afro-Brazilian classic Black Orpheus with Charlie Dark; Beck’s Song Reader Live; multi-sensory concert for blindfolded audience The Sensory Score; choral sound piece about bees, The Swarm; musique concrète series made from recordings of buildings, Four Points Talk; In Waves for the Roundhouse Choir; Dawn Chorus Live exploring birdsong with Marcus Coates; community multi-arts residency Co-Create; and more recently working with pioneering Rwandan drum ensemble Ingoma Nshya.
Her latest pieces are a Zeitgeist commission for The Riot Ensemble, Munganyinka is a Transformer, which premiered at Huddersfield Contemporary Music Festival 2020, and Ruzunguzungu, commissioned by ISSUE Project Room in New York for their With Womens Work series. She is also a member of Deep Throat Choir and vocal ensembles The Quorum and Blood Moon Project.
All voices are unique, but some really stand apart. Whether it be the tone of a person’s phrasing and delivery, sometimes a voice catches you and gets under your skin. Miryam Solomon is one of those people. A London-based artist by way of Sweden and Eritrea, her work is underpinned by her love for rhythms, vocal interplay and story telling, and has been championed by the likes of Jamie Cullum and Moses Boyd.
Romance, her debut EP for the South London label Albert’s Favourites, is at its heart a sonic exploration of storytelling, painting vivid and evocative worlds that are beautiful, playful and intriguing. Unexpected turns and sounds, interlocking rhythms and voice, weave together a journey through different moods and colours that set the scene for stories to unfold.
There’s a magic and honesty in its simplicity, in working with the dignity of each element, as exemplified by Ben Marc’s production. Repeating rhythms and phrases take on new meaning with each listen, always guided by Solomon’s voice and its offer of intimacy and intricacy.
Growing up in the UK in a Caribbean family, Evadney’s sound has been shaped from his love of bold artists like Bjork, Kate Bush and Grace Jones, and later studying the likes of John Cale, Stockhausen and Musique concrete during his MA in Music Composition at Goldsmiths University. Debuting two stunning EPs of poetic electronic-pop odysseys on Black Acre Records, Evadney captured his own outsider experience. Led by his unique vocals, the politics of sexuality, identity and Evadney’s intersectionality are played out across cinematic pieces of work.