Recordings from the Rub' al Khali, 2010-2019


Multi-channel audio installation and performance
Louvre Abu Dhabi


LOUVRE ABU DHABI, February 5-11, 2019


Between 2010 -2018 Soundwalk Collective travelled across the Rub’ al Khali desert in UAE, Oman, Saudi Arabia and Yemen several times. Known as the Empty Quarter, the Rub’ al Khali is the largest contiguous sand desert in the world, virtually uninhabited and mostly unexplored. Here, with the backdrop of a deafening silence, the Collective recorded an acoustic phenomenon known as the ‘Singing Sand’ or ‘Whistling Sand’: sand that produces sound, caused by wind passing over the dunes. Its friction creates a vibration of sound waves between the layers of dry and humid sand, creating a resonance – an entrancing melody.

As a sonic mirage, the Collective composed evanescent musical phrases in a style known as Orientalism: a constructed Western depiction of Middle Eastern music, a metaphor, an imaginary geography. Full of close little ornaments and melisma’s, chromatic accompanying lines and drone bass , the same sonic characteristics were also used by Rimsky-Korsakov, Rachmaninov, Satie, Ravel, Prokofiev and Strauss. These scores inspire the myth of the desert, envisioned as a mystical and transcendental place, and draw a musical bridge between the West and the East.

Ephermal, volatile melodies, appear and disappear as a sonic illusion; leaving behind a questionable memory of an imaginary identity.

Soundwalk Collective’s Mirage is presented as a site-specific multichannel sound installation for 24 speakers and video, and is performed with the Cristal Baschet ‘Venise’ and Verbos synthesizer.

Mirage is supported by the Bernard Baschet Estate, the Association Structures Sonores Baschet, and the Analogue Foundation.

All recordings by Soundwalk Collective
Music consulting and Buchla: Hans Tammen





Recordings from the Mediterranean Sea, 2009-2018


Ulysses Syndrome
Manifesta 12 Palermo
Oratorio S.Maria del Sabato
Vicolo Meschita, Palermo


BEIT BEIRUT, November 16-28, 2018
BARDO MUSEUM TUNIS, September 27 – November 4, 2018
MANIFESTA12, Palermo, June 16 – July 29, 2018
dOCUMENTA14, Athens + Kassel, April 8 – September 17, 2017
MUDAM with Lee Bul, Luxembourg February 12, 2014
TAP, Poitiers February 7, 2014
MUCEM, Marseille October 18, 2014
PS1 Art On Air, NYC April 1, 2013
National Museum of Singapore August 26-27, 2011
FIMÉ Villa Noailles, Hyéres November 13, 2010
MADRe Museum of Contemporary Art, Napoli September 30, 2010


A soundscape of the Mediterranean
basin, composed by retracing Ulysses’ journey from Troy to Ithaca. A vastness of fragments songs harmonies: a choir, an audible entropy.
Sailing for over two months across the coasts of the Middle East, Italy, Northern Africa and Southern Europe, equipped with scanners, aerial antennae and recorders, Soundwalk Collective intercepted a technological, augmented hearing, accidental overlaps of noises, music and voices, private conversations and service communications, bouncing back and forth between boats, ships and the coast.
They listened to these recordings again
in their studio, in order to grasp the
sense of each sound, of each trace, of each diaphony: hints of stories, slices of worlds, letting themselves be led to what turned out to be an état des lieux of the Mediterranean basin.
The result is a musical map in continuous rearrangement, a polyphonic installation, the reflection of a sound archive.
In Palermo, this symphonic drift of the Mediterranean basin finds its home at
the former Oratorio di Santa Maria del Sabato, whose walls echo just as many vicissitudes. The choral dimension of
the oratory is amplified by the exhibition set up, which welcomes the visitors in
a dense, suspended dimension, one
which weakens the sight. A reference to nocturnal sailing, overhearing the sea. Located in Vicolo Meschita (“Alley of the Mosque”), in the ancient Jewish quarter of the city, after the exodus of the Jews
of the late 15th century, the oratory became the site of a succession of Catholic congregations, up to its closing ten years ago.
On this occasion, with Ulysses Syndrome
and Manifesta, it returns to life, with the echo of the Odyssey, of all odysseys. Announcing its imminent rebirth as
a Synagogue, thanks to its recent assignment to the Jewish Community of the city by the Archbishop of Palermo.
The inaugural date of the exhibition fosters a further resonance. June 16th is the day in which, in 1904, Joyce’s Ulysses took place. The recurrence of the “Bloomsday”, by which the Irish poet – one of the spiritual guides of this project – is celebrated, and whom we celebrate.
“Listening to Ulysses Syndrome (the signs of Ulysses, or the running together of his routes) I hear this displacement of refrains. I am not fixed within signs but adrift within signals. Like a bat or a dolphin, I hear scanned frequencies otherwise inaudible to my human limitations and these voices and tones captured from the aether seem to
me to be our equivalent of those voices of gods who spoke “words that flew”; music asserts its regional and cultural affiliations and yet at the same time it drifts unmoored in the ocean of sound. One of the sirens
in Joyce’s Ulysses produces a shell, a seahorn, so that one of her customers can listen. “Her ear too is a shell,” wrote Joyce, “the peeping lobe there… the sea they think they hear. Singing. A roar. The blood it is. Souse in the ear sometimes. Well it’s a sea. Corpuscle islands.” Fluting notes, lamentations, disembodied voices, the hum of contemporary existence. What
is the figure; which is the ground? From within our corpuscle islands we close our eyes, set out to sea in order to discover exactly this.”
David Toop, from the essay Black- Winged Night in Soundwalk Collective’s Transmissions (Dischi Fantom 01, 2017)


Recordings from the Mediterranean Sea, the Black Sea, the Empty Quarter, Bessarabia, 2017


4xLP, special edition box
Ulysses Syndrome, Medea, Empty Quarter, Bessarabia
Dischi Fantom
Cover Photos by Stephan Crasneanscki
Graphic Design by Fabrizio Radaelli / Boiler Corporation
Image by Delfino Sisto Legnani


Every Time A Ear Di Soun
documenta14 in Athens, Kassel, On Air
April 8 – September 17, 2017


Hertzian frequencies, radio interceptions, fragments of voices, singing sands, shortwave transmissions, archival recordings, vanished worlds, chaotic harmonies, daunting moments of confusion, an audible entropy, elation, and the endless search for beauty into chaos.

I hear this displacement of refrains. I am not fixed within signs but adrift within signals. Like a bat or a dolphin, I hear scanned frequencies otherwise inaudible to my human limitations and these voices 
and tones captured from the aether seem to me to 
be our equivalent of those voices of gods who spoke ‘words that flew’; music asserts its regional and cultural affiliations and yet at the same time it drifts unmoored 
in the ocean of sound. David Toop

Dischi Fantom’s debuting project Transmissions gathers four previously unreleased studio compositions by the New York and Berlin-based group of artists-musicians: Ulysses Syndrome, Medea, Empty Quarter and Bessarabia; a booklet including Black-Winged Night, an essay by musician and writer David Toop, and a conversation between Soundwalk Collective and Dischi Fantom’s founder, Massimo Torrigiani. The four records – mastered by Stefan Betke and published in an edition of 300 copies – are the result of extensive journeys and field recordings in the Mediterranean basin, the Black Sea, the Rub’ al Khali Desert, and the region around Odessa, once known as Bessarabia.

Selected tracks from Transmissions are being broadcasted internationally as part of Every Time a Ear Di Soun, the radio programme of documenta14, curated by Adam Szymiczyk. The programme includes a headphone installation in the Press and Information Centre in Kassel, designed by Aristide Antonas, and in the ASFA Library in Athens, and will be running through September 17th, 2017.

Dischi Fantom 01: Transmissions by Soundwalk Collective
Edition: 300
Records: n. 4; 160 grams, 12” vinyl LPs housed in a box (32,3 x 32,3 cm; 12.7 x 12.7 inches)
With a 16-page booklet including Black-Winged Night, an essay by David Toop, and a conversation between Stephan Crasneanscki, Simone Merli and Kamran Sadeghi 
of Soundwalk Collective with Massimo Torrigiani.
All music composed and produced by Soundwalk Collective
Mastering: Stefan Betke at ~Scape Mastering, Berlin
Graphic Design: Fabrizio Radaelli, Milan
Record Pressing: Optimal Media, Germany
Printed and assembled in Italy by Grafiche Antiga


Recordings from the Alcantara factory, Berghain, Arma17, Gedenkstätte Berlin Hohenschönhausen, 2017


Clementine Deluy
Photo by Sebastian Bolesch


La Monnaie, Brussels February 2 – 4, 2018
Opéra, Dijon January 11 – 12, 2018
Radialsystem V, Berlin December 20 – 29, 2017
Centro Cultural de Belém, Lisbon October 4 – 5, 2017
TNC, Barcelona September 28 – 30, 2017
Teatro Argentina / Romaeuropa, Rome September 20 – 23, 2017
Haus der Berliner Festspiele, Berlin August 22 – 24, 2017
Radialsystem V, Berlin June 9 – 18, 2017


Soundwalk Collective’s composition for Sasha Waltz’s ‘Kreatur’ uses recordings from inside various factories and iconic re-appropriated buildings as source sound. These landmarks of 20th century architecture embody power, control and mass production, while being the first witness of the radical change in our social and sonic landscape. The resulting composition is a musical abstraction derived from the resonance of these buildings, industrial machinery and factory acoustics, shifting the atmosphere of sound from industrial, to post-industrial; exploring a discourse over the human and the artificial.

The production of these soundscapes are less about organizing musical time, rather about recreating space, landscapes and memories. The Collective records and composes with the idea that the movement that falls into this space reveals elements of musicality within the dissonance and atonality inherent in the sound.

The composition features recordings from the Alcantara factory in Nera Montoro (Italy), Berghain (Berlin), Arma17 (Moscow), Gedenkstätte Berlin Hohenschönhausen (former Stasi prison).


Sasha Waltz

World premiere, Radialsystem V Berlin, 9 June 2017

Direction, Choreography: Sasha Waltz
Music: Soundwalk Collective
Costumedesign: Iris van Herpen
Lightdesign: Urs Schönebaum
Soundwalk Collective
Rehearsal Director: Davide Di Pretoro
Dramaturgy: Jochen Sandig

Dance, Choreography: Liza Alpízar Aguilar, Jirí Bartovanec, Davide Camplani, Clémentine Deluy, Claudia de Serpa Soares, Peggy Grelat-Dupont, Hwanhee Hwang, Annapaola Leso, Nicola Mascia, Thusnelda Mercy, Virgis Puodziunas, Zaratiana Randrianantenaina, Corey Scott-Gilbert, Yael Schnell


Der Tagesspiegel – June, 2017
“Stachel im Fleisch”
by Luzina

Frankfurter Allgemeine – June, 2017
“Die Wollust der präzisen Formulierung”
by Wiebke Hüster

Berliner Morgenpost – June, 2017
“Sasha Waltz zeigt in “Kreatur” Mensch als zerrissenes Wesen”
by Elena Philipp

Berliner Zeitung – June, 2017
“„Kreatur“ im Radialsystem Sasha Waltz feiert erste Uraufführung in Berlin seit 2005”
by Michaela Schlagenwerth


Recordings from the Alcantara factory in Nera Montoro, 2017


Fantasy Access Code
Palazzo Reale, Milan
Photo by HenrikBlomqvist


Fantasy Access Code, K11 Museum, Shanghai June 22 – August 31, 2017
Fantasy Access Code, Palazzo Reale, Milan March 27 – June 5, 2017


Resonance, the sound and light installation by the artists and musicians of the Soundwalk Collective, documents the repetitive motion of industrial machinery that is employed in the formation of Alcantara. The collective carried out a series of recordings around the Alcantara factory in Nera Montoro (province of Terni), gathering the sounds of machinery and the ambient noises that characterise its working environment. The resulting composition is a musical abstraction deriving from the factory acoustics, in addition to the rhythmical and redundant patterns of twelve mechanical and hydraulic engines in operation. The arrangement of the piece shifts the atmosphere of sound from industrial, to post-industrial, climaxing into a natural soundscape, and circling back to the start, exposing a contemporary discourse over the human and the artificial. An immersive path, traced by sound waves and luminous sources, leads us into the listening area and then out of it again, thus making our own physical presence an integral part of the production process.


Recordings from the music conservatories of Shanghai, St.Petersburg, Napoli, 2013-2017


Before Music There Is Blood
LP, Apollo Records / R&S Records
Photo by Stephan Crasneanscki
Artwork by Richard Robinson


La Seine Musicale, Paris December 16, 2017
Arma London, Great Suffolk St. Warehouse, London September 23, 2017
Waking Life Festival, Crato, Portugal August 20, 2017
Signal Festival, Nikolai-Lenivets, Russia August 17, 2017
Radialsystem V, Berlin June 12, 2017
La Triennale, Teatro dell’Arte, Milano March 28, 2017
Outline Festival, Moscow July 2, 2016
Soundwalk Collective Retrospective, Capo d’Arte, Gagliano July 25 – August 29, 2015


Apollo Records is proud to present a stunning new project from NYC / Berlin based artists Soundwalk Collective AKA the trio of Stephan Crasneanscki, Simone Merli and Kamran Sadeghi.

For ‘Before Music There Is Blood’ they have collaborated with the world’s most prestigious music conservatories (the Shanghai Conservatory of Music (China), The N. A. Rimsky-Korsakov Saint Petersburg State Conservatory (Russia) and the Conservatorio di Musica S. Pietro A Majella in Napoli (Italy).

They entered the hallowed courtyards, corridors and classrooms of these three academies, recorded hundreds of hours of these elite students practicing and rehearsing to the highest standards of virtuosity.

“The piece questions what is music, composition, and ultimately what is harmony,” they explain. “It is an attempt to capture notes out of their context – bleeding into each other through the walls, windows, courtyards and alleyway of the conservatory.”

These unexpected melodies are the result of an impromptu, anarchic musical composition of all instruments, where composers, centuries and civilisations are echoing each other in one acoustic space – ghostly fragments of conversation, skittering percussive stabs, burbling synthesis, oscillating swathes of droning strings and hushed, gauzy ambiance. Max Loderbauer supplies a stunning rework that lets the sunshine into the hallowed academic halls a percolating iridescent odyssey – A fitting return to Apollo Records for Max Loderbauer who produced a series of classics for the label in the nineties as half of Sun Electric.

To give Soundwalk Collective the last word on the topic “Our microphones wondering through the architecture were the silent spectators of the music left behind.”

Releases April 7, 2017
The live performance features a live film shot and composed by Éponine Momenceau, Palme d’Or at Cannes Film Festival 2015.
“Before Music There Is Blood” is a project sponsored & supported by The Analogue Foundation. Learn more about The Analogue Foundation, its mission and its founders at www.analoguefoundation.com.


‘Auditorium Scarlatti’
from the album Before Music There Is Blood
Film by Eponine Momenceau
Produced by Soundwalk Collective for Apollo Records


Boomkat – April, 2017
“Soundwalk Collective: Before Music There Is Blood”
by Boomkat Staff

XLR8R – February, 2017
“Soundwalk Collective Record Elite Music Students for New Concept Project”
by XLR8R Staff


Apollo Records / R&S (Worldwide)
Bandcamp (Worldwide)
iTunes Store(Worldwide)


Recordings from the ex-forbidden Kingdom of Lo, Upper Mustang, Nepal, 2016


Prayer wheel, kaleidoscopic lens by NASA
Upper Mustang, Nepal
Photo by Stephan Crasneanscki


Sacred Spaces, Rubin Museum of Art NYC
November 11, 2016 – June 5, 2017


Audiovisual installation commissioned by the Rubin Museum of Art in NYC.

In the spring and summer of 2016 Soundwalk Collective and Francisco López traveled to Upper Mustang, Nepal, to record the sounds in and surrounding the world’s highest monasteries—the flapping of prayer flags, the chanting of blessings, the echoes of wind from the valley below, and the interplay of sound and silence. These sound environments are presented as a multi-channel audio installation through state-of-the-art speakers, creating an immersive and meditative experience.

Entitled Khandroma, after a spiritual muse in Tibetan Buddhism, the piece is presented as a multi-channel audio installation through state-of-the-art speakers. Visitors can also interact directly by playing individual tracks from the sound environments at dedicated listening stations featuring state of the art Audio-Technica turntables and headphones . The deity Khandroma is an energetic volatile being, also known as “the one who traverses the sky,” and therefore closely related to the sounds of the piece.

Complementing the audio experience, a video installation filmed by Stephan Crasneanscki shows cyclic kaleidoscopic imagery of prayer wheels and flags from Himalayan monasteries, an effect created by handmade kaleidoscopes that are built with glass and crystals and then mounted on the camera lens. The resulting images form inverted triangles, evoking a symbol in Tibetan Buddhism that represents the search for equilibrium and equanimity.

Visitors can also retreat from the winds in the expanded installation of the Museum’s beloved Tibetan Buddhist Shrine Room, which opened in 2015. Flickering butter lamps, the scent of incense, and the sounds of monks chanting will envelop visitors as they enter this re-creation of a traditional shrine that would be used for offering, devotion, prayer, and contemplation. The sounds heard in the Shrine Room will be new, original recordings from Soundwalk Collective’s travels in Nepal.

Sacred Spaces and Himalayan Wind are made possible through the generous support of Christopher J. Fussner, The Hoch 2009 Charitable Lead Trust, Rasika and Girish Reddy, and Audio-Technica. Additional support has been provided by Bob and Lois Baylis, Ashwini and Anita Gupta, Preethi Krishna and Ram Sundaram, William and Pamela Michaelcheck, Tulku Tsultrim Pelgyi, Manoj and Rita Singh, Venkat and Pratima Srinivasan, the Zakaria Family Foundation, and contributors to the 2015/2016 Exhibitions Funds.

Composed and Produced by Soundwalk Collective
Wind and tonal field recordings by Soundwalk Collective & Francisco Lopez
Film by Stephan Crasneanscki
Directors of Photography: Gabriele Giugni, Paul Hance
Commission for The Rubin Museum of Art, NY, November 11, 2016-June 5, 2017
Featuring turntables and headphones by Audio-Technica
Produced in collaboration with Analogue Foundation

Audio Preview


Film by Stephan Crasneanscki
DP: Gabriele Giugni, Paul Hance
Editor: Jenn Ruff
Commission for The Rubin Museum of Art, NY, November 11, 2016-June 5, 2017


Recordings from the Peruvian Amazon Rainforest, 2016-2017


Film Still
Midnight Moment, Times Square, NYC
Film by Stephan Crasneanscki
Director of Photography Éponine Momenceau


Times Square, NYC
Public Sound Installation
May 1, 2016 – Ongoing

Times Square, NYC
Midnight Moment
Audiovisual installation
April 1-30, 2016


Soundwalk Collective
& David de Rothschild

Featuring Amazon Rainforest Sound Environments Recorded by Francisco López.

An interactive audio art installation that transforms Times Square, transporting visitors to the heart of the Amazon, following the 73rd Meridian West that connects Times Square with the Amazon rainforest. Presented in partnership with Times Square Arts, NYC & CO., Audio-Technica, The Lost Explorer and CXA+ART, this immersive, participatory audio experience encourages and celebrates a conversation with nature to bring a heightened awareness around climate change and the environmental impact of our everyday actions.

As part of the Times Square Arts’ At the Crossroads program, which includes installations and performances on the public plazas of Times Square, visitors will be invited to take self-guided audio tours of the Amazon by downloading the JUNGLE-IZED LITE or the full JUNGLE-IZED mobile app. From 8am to 7pm daily visitors can also borrow a pair of premium Audio-Technica headphones from the NYC & Co. kiosk located in Times Square, to begin the journey through a virtual soundscape that superimposes the Amazon ecosystem on the heart of Times Square, by following the 73rd line of longitude West that connects Times Square with the Amazon rainforest.

Available through the JUNGLE-IZED LITE or full JUNGLE-IZED mobile app, the virtual soundscape is composed by Soundwalk Collective and features Amazon rainforest sound environments recorded by internationally acclaimed sound artist Francisco López.

As visitors walk throughout Times Square, the voices of Shipibo shamans and narration by Amazon experts Jeremy Narby and Daniel Pinchbeck will guide them along a jungle tour and into a conversation with nature. The use of Audio-Technica headphones provides an end-to-end experience and ensures that none of the Amazon’s auditory brilliance is lost along the way.

Midnight Moment is the world’s largest, longest-running digital art exhibition, synchronized on electronic billboards throughout Times Square nightly from 11:57pm to Midnight. Presented by the Times Square Advertising Coalition and curated by Times Square Arts since 2012, it has an estimated annual viewership of 2.5 million.
Each night, Times Square becomes a digital art gallery through dazzling visuals on select billboards and newsstands. Every show begins at 11:57 p.m. with a “countdown” that signals the start of the three minute nightly presentation. Past artists featured in the program include Lorna Mill; Fischli and Weiss; Laurie Anderson; Antony Nagelmann; Jesper Just; Shahzia Sikander; Rashaad Newsome; Osgemeos; Eric Dyer; Richard Garet; Andy Warhol; Peggy Ahwesh; Marco Brambilla; Rafaël Rozendaal; Sebastian Errazuriz; Charles Atlas and Antony; Noah Hutton; Ryoji Ikeda; Daniel Canogar; Alfredo Jaar; Isaac Julien; Robert Wilson; Tracey Emin; Seoungho Cho; Vicki DaSilva, Surabhi Saraf, and Elly Cho; Erika Janunger; Takeshi Murata; Bel Borba with Burt Sun and André Costantini; Zach Nader; Brian Gonzalez (aka Taxiplasm); Björk; JR; Ryan McGinley; Jack Goldstein; Nature Theater of Oklahoma; Ezra Wube; Laleh Khorramian; Brian Dailey; Leslie Thornton; and Yoko Ono.

Audio Preview



Film by Stephan Crasneanscki
Sound by Soundwalk Collective
Director of Photography: Eponine Momenceau
Executive Producers: Paul Hance, David Duponchel
Film Editing: Jennifer Ruff
Digital Compositor: Ed Barnes


1. Go to ‘Settings’
2. Scroll down to ‘General’
3. Select ‘Accessibility’
4. Scroll down to the bottom and select ‘Accessibility Shortcuts’
5. Select ‘Invert Colors’
6. Go back to the home screen
7. Open the camera App
8. Click on the home button 3 times fast
9. Point the camera towards the film


The Guardian – March, 2016
“Jungle-ized is massive: artwork brings the Amazon to the concrete jungle”
by Ellen Brait

The Village Voice – April, 2016
“‘Jungle-ized’ Infuses Times Square With the Sounds of the Amazon”
by Audrea Lim

Times Square – April, 2016
“JUNGLE-IZED: A Conversation with Nature”

The New York Times – April, 2016
“Observe Earth Day With a Nature Takeover in Times Square”
by Alison S. Cohn

NY Daily News – April, 2016
“Amazon rainforest sounds echo through Times Square in interactive ‘Jungle-ized’ audio exhibit”
by Chris sommerfeldt, Rich Schapiro

Monocle – April, 2016
“The Urbanist: Urban experienced, Times Square and the Amazon”
by Andrew Tuck

KILLER ROAD with Jesse Paris Smith, featuring Patti Smith

Recordings from Ibiza, 2013-2016


Top Left & Bottom Left – Photo by Patti Smith
Right – Video Still by Barbara Klein


Abu Dhabi Art, Abu Dhabi Nov 4, 2014
Union Chapel, London Oct 27, 2014
Volksbuehne, Berlin Oct 26, 2014
FIAF’s Crossing The Line Festival, NYC Oct 2, 2014
CTM Festival Feb 1, 2014
Soundwalk Collective Retrospective, Capo d’Arte, Gagliano July 25 – August 29, 2015
Venice Biennale, Venice June 1 – November 24, 2013
Deutschlandradio Kultur July 25, 2014


Killer Road is a sound exploration of the tragic death of Nico, Velvet Underground vocalist and 60s icon, while riding her bike on the island of Ibiza in the summer of 1988. A hypnotic meditation on the idea of perpetual motion and the cycle of life and death, the composition features Patti Smith lending her unique voice to the last poems written by the artist. Soundwalk Collective and Jesse Paris Smith use a travel log of field recordings, harmonics, and samples of Nico’s signature instrument, the harmonium, to create a magnetic soundscape.

Recorded and Composed by Soundwalk Collective & Jesse Paris Smith
Soundwalk Collective: modular synthesis, field recordings, electronics
Jesse Paris Smith: crystal singing bowls and resonating acoustic instruments
Patti Smith: voice
Mixed by Kamran Sadeghi
Mastered by Stefan Betke ~Scape Mastering
Produced by Soundwalk Collective for Bella Union and Sacred Bones Records


‘Killer Road’ from the album Killer Road – A Tribute To Nico
Directed by Stephan Crasneanscki
Produced by Soundwalk Collective for Bella Union
Video by Tina Frank


‘Fearfully In Danger’ – Live at Volksbühne Berlin – from the album Killer Road – A Tribute To Nico
Directed and edited by Barbara Klein
Produced by Soundwalk Collective for Sacred Bones Records



Pop Matters – September, 2016
“Soundwalk Collective, Jesse Paris Smith and Patti Smith Pay Tribute to Nico’s Haunting Poetry”
by David Chiu

Mxdwn – September, 2016
“Soundwalk Collective & Jesse Paris Smith – Killer Road feat. Patti Smith”
by Drew Pitt

Village Voice – August, 2016
“Patti Smith, Jesse Paris Smith, and Soundwalk Collective Imagine Nico’s Final Hours”
by Judy Berman

Rolling Stone – August, 2016
“Watch Patti Smith Perform Foreboding Nico Tribute ‘Fearfully in Danger'”
by Althea Legaspi

The Village Voice – August 2016
“Patti Smith, Jesse Paris Smith, and Soundwalk Collective Imagine Nico’s Final Hours”
by Judy Berman

The New York Times – July, 2016
“The Playlist: Miranda Lambert Bounces Back and Michelle Obama Sings the Hits”
by Jon Pareles, Ben Ratliff, Jon Caramanica, Nate Chinen

The Quietus – July, 2016
“WATCH: Soundwalk Collective, Patti Smith & Jesse Paris Smith'”
by Christian Eede

Pitchfork – July 2016
“Patti Smith Recites Nico Poetry on “Killer Road” From New Album: Listen”
by Evan Minster

Rolling Stone – November 2104
“Patti Smith Performs Haunting, Unorthodox Nico Tribute”
by Sarah Grant

Zoo #41 – Winter Issue 2013
“I’ll Be Your Mirror”
by Hadley Hudson


Sacred Bones Store (US and Canada)
Bella Store (Europe and Worldwide)


Based on the homonymous text by David Wojnarowicz, 2015


“American Obsessions” – Richard Kern
Still from the series American Obsessions 1983 Featuring David Wojnarowicz
Super 8 on digital video, color, silent
1:21 min
Courtesy of the artist and P.P.O.W Gallery, New York


Nuits Sonores Festival May 14, 2015
CTM Festival Jan 24, 2015


Rebelliously struggling against conformity and materialism, multidisciplinary artist, writer and activist David Wojnarowicz was one of the most potent voices of his generation. Born in New Jersey in 1954, Wojnarowicz lived an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality. He dropped out of high school and was living on the streets by the age of sixteen, eventually settling in New York’s East Village in 1978. As part of the first wave of East Village artists he befriended and collaborated with many notable artists, including photographer Nan Goldin. By the late 1970s Wojnarowicz’s work took on a focus of “making and preserving an authentic version of history that would contest state-supported forms of ‘history.’” (Wojnarowicz)

Wojnarowicz’s perspective from the fringe directly opposed the idea of a nicely tuned, harmonic society, instead promoting the uncontrollable noise of radical diversity. Diagnosed with AIDS in the 1980s, his art took on a more sharply political edge regarding medical research and funding, and morality and censorship in the arts. He died of AIDS-related illness in New York in 1992, at age 37.

CTM 2015’s Opening Concert on 24 January pays homage to Wojnarowicz’s powerful untuned stance through the world premiere of the latest work by Soundwalk Collective with American photographer Nan Goldin and video artist Tina Frank. “A Memoir Of Disintegration” is a sound composition based on David Wojnarowicz’s homonymous and provocative correspondence that explores and captures existence at the margin of society in 1980s underground New York City. An intense and dark journey over street life, drugs, art and nature, politics, friendship, and acceptance, the live performance features Nan Goldin interpreting the most expressive excerpts of Wojnarowicz’s writings. Soundwalk Collective perform a live musical score thick with jarring physicality juxtaposed to a sound memento of field recordings from New York City throughout the past two decades. With live visuals from video artist Tina Frank, and Samuel Rohrer on drums.


Film by Barbara Klein

The live visuals consist of excerpts of the following films:
Richard Kern
From the series American Obsessions 1983
Featuring David Wojnarowicz
Super 8 on digital video, color, silent
1:21 min
Courtesy of the artist and P.P.O.W Gallery, New York

Richard Kern
You Killed Me First 1985
Featuring David Wojnarowicz, Nick Cooper, Jessica Craig- Martin, Karen Finley, Montanna Houston, Lung Leg
?Music by J.G. Thirlwell
Super 8 on digital video, color, sound
12:00 min
Courtesy of the artist and P.P.O.W Gallery, New York

Marion Scemama and David Wojnarowicz
Last Night I Took A Man 1989
Performance and Dialogue: David Wojnarowicz Camera and Direction: Marion ScemamaSuper 8 on digital video, color, sound
4:33 min
Courtesy of Marion Scemama, the Estate of David Wojnaorwicz and P.P.O.W Gallery, New York

Tommy Turner and David Wojnarowicz
Where Evil Dwells 1985
Featuring Joe Coleman, Devil Doodie, Baby Gregor, Richard Klemann, Lung Leg, Jack Nantz, Rockets Redglare, Tommy Turner, Charlotte Webb, Scott Werner, David Wojnarowicz Music by AC/DC, J.G. Thirlwell and Wiseblood
Super 8 on digital video, black and white, sound
31:10 min
Courtesy of Tommy Turner, the Estate of David Wojnarowicz and P.P.O.W Gallery, New York

David Wojnarowicz
Heroin 1981
16 mm film on digital video, black and white, silent
2:33 mins
Courtesy of the Estate of David Wojnarowicz and P.P.O.W Gallery, New York

David Wojnarwociz
A Fire In My Belly (Excerpt) 1986-87
Super 8 on digital video, black and white, color, silent 7:00 min
Courtesy of the Estate of David Wojnarowicz and P.P.O.W Gallery, New York

David Wojnarowicz
Beautiful People 1988 featuring Jesse Hultberg
Super 8 on digital video, silent 34 minutes
Courtesy of the Estate of David Wojnarowicz and P.P.O.W Gallery, New York

David Wojnarowicz
ITSOFOMO (in the shadow of forward motion)
Collaboration with Ben Neill
originally performed in 1989, audio recorded in 1991
22 minutes
Courtesy of the Estate of David Wojnarowicz and P.P.O.W Gallery, New York


Berliner Zeitung
“Club Transmediale – Bloß Nicht die Ohren Zuhalten!”
by Markus Schneider

The Quietus
“Not Masochism As A Simplistic Concept: CTM 2015 Reviewed”
by Luke Turner

WHAT WE LEAVE BEHIND – Jean-Luc Godard Archives

Recordings from Jean-Luc Godard archives, 2014-2018


Photo by Stephan Crasneanscki


DokuFEST, Prizren August 10, 2018
Arma X, Funkhaus Berlin June 2, 2018
The Long Now, Kraftwerk Berlin March 24, 2018
Festival Novas Frecuencias, Rio de Janeiro December 7, 2015
FIAC, Maison de la Radio, Paris October 24, 2015
Deutschlandradio Kultur May 15, 2015
KW FEED, Institute of Contemporary Art, Berlin April 23, 2015

New York Festivals International Radio Awards 2016 Silver Radio Award
Phonurgia Nova, Prix Archives de le Parole 2016 Special Mention


Jean-Luc Godard’s past rests in thousands of cardboard boxes. The filmmaker has incorporated his entire personal archive to an inconspicuous place in France that hides numerous film rolls, personal belongings and reel to reel sound tapes. In 2014 Soundwalk Collective received access to this archive and now offers a Godard acoustic behind the scenes: in meticulous detailed work, the trio’s extracted recordings from before and after Godard’s film takes. Stage directions, the atmosphere on the set, false starts and new attempts to show the universe of a perfectionist and phantasmagoric personality. “Art attracts us only by what it reveals of our most secret self.” (Godard)

“What We Leave Behind” is a sound piece composed solely of unreleased fragments of sound that were recorded on the film sets of Jean-Luc Godard, and never saw the light of day. The sound composition shows us the very real and somewhat forgotten audiovisual archive of the film director, rediscovered by accident somewhere in France.

The accompanied film is a portrait of contemporary cinema and a reflection on the archive as a recurrent idea in philosophical and artistic thought. In addition to the principles of preservation and conservation, the archive relies on a constellation of ideas of identity, traceability, temporality, space, memory, existence, materiality and historicity.

Produced by Soundwalk Collective with Francois Musy & Marcus Gammel [Deutschlandradio Kultur]
In collaboration with Wild Bunch


Film by Stephan Crasneanscki [Excerpt]

Director of Photography & Film Editing: Greg Pedat



Recordings from Arma17, Moscow 2012-2014


Photo by Arma17


Soundwalk Collective Retrospective, Capo d’Arte, Gagliano July 25 – August 29, 2015
Arma 6 years, Arma 17, Moscow April 26, 2014


Since 2012 SOUNDWALK COLLECTIVE collaborated with ARMA 17 by recording the vibration and resonance of the architectural structure of the club.
The Collective used a series of custom made contact sensors, each one was placed upon a vibrating area of the building.
The materials that constitute the structure of the building absorbed the sound frequencies and tones in its own unique way, producing in each turn a new sound that often contained a melodic element, allowing the building itself to be played as a musical instrument.

Recorded and Composed by Soundwalk Collective
Mastered by Kamran Sadeghi
Produced by Soundwalk Collective for Arma Label


Film by Tomash M. & Natasha Y. / STEREOTACTIC
Produced by Arma17, Moscow, 2014


Recordings from Bessarabia, 2013


Bessarabia Ghost tapes
Live Performance / Installation
MAHJ Museum, Paris
Photo by Paul Allain


MAHJ Musée d’Art et d’Histoire du Judaisme, Paris
October 5, 2013


The atrocities held in the history of Bessarabia, a former region of Eastern Europe, are not known to many.
Instead, they were forced to be forgotten and almost permanently erased. Only recently, after inquiry from living relatives and aging locals fearing the truth they witnessed might be lost forever, have the disparaging details emerged. The details, unimaginable. This grave atrocity, now referred to as ‘Shoah by Bullet’, is what many wish didn’t have a name. Not just a name, but now a sound. A sound of resurrection, resonance and permanence. A sound of survival offering an eternal existence.
In collaboration with Centropa Foundation we were given access to taped recordings of surviving Jews. Recorded in 1959, these tapes ended up improperly stored, in the basement of the Jewish Federation in Kiev. For the past 60 years, these voices have been trapped in a space suffering the unforgiving consequences of time and elements.
The damage incurred still can be heard, in the faintness of the morphed voices forcing themselves through to various glitches. These imperfections act as an audible reflection of the damaging history. While now all that remains on the tapes are just a few fragmented voices, together these fragments become a collective voice. That collective voice, one of Jewish survival. In order to feel and to understand the stories and the voices, we returned to where they were first silenced. We travelled through the 27 villages and towns. Kishinev in Moldova, Tiraspol in Transnistria, along the Black Sea, and Carpathian Mountains; to the sites where mobile execution units were erected for mass shootings, and to the mass graves Jews were forced to dig themselves before being buried alive. Wherever the gravest atrocities occurred, the places history doesn’t want you to go. This is where we went and recorded.
What remains visually in Bessarabia, is a forged sense of normalcy, an almost forced forgetting. Someone could easy mistake it for idyllic, grass has grown over the graves, the sun still shines. There are no gravestones, nothing marking the dead past. Life continues as though that is all it has ever done. Below the graves, though, are the remnants of those executed. These remnants, you can feel and hear. These remnants are what we recorded.
All of the location recordings were made at night. Vision gives a false illusion of life and light. There was no light. Just darkness, a darkness that echoes the permanent emptiness of this lost, almost forgotten, world. Through micro processing, we increased the surface noise of the tapes revealing a physicality, enhancing the disintegration of the tapes. Combined with the physical regression of the sounds recorded, this resulted in what can only be described as a haunting harmony. This created a meditative and hypnotic reflection of the indifference of nature towards humans potential for evil. In order to prevent itself from repeating, history needs a memory. Bessarabia almost deleted that memory, twice. Now we have tried to resurrect it. The voices that were almost lost forever, will now resonate and repeat in a format that can be replayed forever.

Audio Preview


Recordings from the Gypsies, in Ukraine, Moldavia, Romania, Bulgaria, Macedonia, Kosovo, Serbia, Hungary, Slovakia, Austria, Germany, 2013


LP Album Cover
Photo by Stephan Crasnenascki


Maison de la Radio, FIAC, Paris October 20 – December 24, 2015
Galerie Kai Dikhas, Berlin November 6, 2014
Deutschlandradio Kultur July 25, 2014
Radio France Culture | Atelier de Création Radiophonique October 16-17-23, 2013
Palais de Tokyo, Paris October 4, 2013


A sound poem of the Danube and the Roma people.

The Danube is a mirror of the Indus, where the Gypsy people were born.
Its banks contain the memories and the contemporary history of the Roma, and of their exodus to Europe.
Their ascent along the Blue River, from east to west: from its tentacular delta in the Black Sea, to its spring in the Black Forest of Germany, where it is only a brook.
The process of collecting sound imprints along the fertile silts of its banks results in the words, songs, tales, and music of the Gypsy people. A culture that is marked by accents of guitars, accordions, violins, and voices accappella. The rustle of the long skirts of the women, the random access memory of a people who carry their future according to the jolts in their history – from the settlement forced in the 60s, to the deterioration in the standard of living after the fall of the communism.

To follow the endless road of exodus at the time in Europe which is believed to be without borders.
The murmured, sung and cried story is always the one of the exile or the exodus.
“The Gypsy music is a cry of pain, an ancestral pain which comes from the soul of a whole people”, says the French Gypsy filmmaker Tony Gatlif.
“It is the pure revolt, nothing is made, everything is shouted “.

Recorded and Composed by Soundwalk Collective
Mastered by Stefan Betke ~Scape Mastering
Produced by Soundwalk Collective for Asphalt Tango Records

Audio Preview


Roots World
by Lee Blackstone

Asphalt Tango Records [LP-ATR 5014]