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Anton Spice

@anton.spice

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listening to everything
writer & associate lecturer @goldsmithsmadesign
Represented by @shar_love_ at @internationalcreativeagency

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On November 17th at the @devonojas Listening Room, @180.studios, @gigi_masin joins journalist and broadcaster @anton.spice for a conversation and deep listening session marking 40 years since the self-release of Wind. Together they journey through the Venetian composer’s singular musical world, exploring his approach to sound, collaboration and environment — from the fragile ambient textures of Wind to his work with Gaussian Curve and beyond.

#180Studios #180TheStrand #ListeningRoom #DevonOjas #DevonTurnbull by @anton.spice

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4 days ago

Looking forward to putting the new @eye___fi sound system through its paces on Saturday evening at @godetlondon from 9pm. Come down and say hi!

Thank you @sitraka___ for the invite, can't wait to hear what it sounds like. by @anton.spice

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19 days ago

📣📣 Announcing our next Echolocation event this Sunday 📣📣

Amongst the multi-media fragments of her exquisite exhibition, sound artist @liamazzari will host a listening session and be in conversation with @anton.spice this Sunday. Join us in Dalston for a soft, creaking late-afternoon of icy sounds and environmental questioning. It’s always a wonderful crowd. Tickets via eventbrite link in bio taken in Dalston, Hackney by @anton.spice

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a month ago

Turns out there are few things more enjoyable that playing 10 minutes of gurgling glacier sounds to a captive audience at high volume.

Earlier this year I was invited to present two listening sessions over the course of an evening at the @devonojas Listening Room in @180.studios. I called the sessions Sonic Landscapes, and played a wide range of environmental sound works, field recordings and ambient music that engages in or complicates representations of landscape, climate, culture and memory.

You can watch the first of the two sessions - focussed a little more specifically on the British Isles - which is up in full on YouTube now (Link in bio). Shout out to all the Instagram influencers out there who know how to look normal while being filmed listening to music. I don't know how you do it!

Tracklists up on my Substack too for anyone who was asking.

Thank you to all the artists behind the sounds I got to play... @pablodiserens @gilliesadamsonsemple @brianeno @jana.winderen @shelter_press @jenniferlucyallan @lordoftheisles @ellen_ren @kit_grill @room40shoots @beatriz_santiago_munoz @odda_recordings @stuarthyatt and others not on here.

And thank you of course to @alexflowers___ fpr the invite. Was great to be back at VF again. by @anton.spice

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2 months ago

Legend has it – as so many of his tales begin – that Miles Davis used to tear around Manhattan in his yellow Lamborghini in the early ‘70s playing a cassette of ‘Hymnen’ by German composer Karlheinz Stockhausen at full volume. ‘Hymnen’ was prototypical collage music. All rupture, crunched sound and hard edges. Then, one night in October 1972, Miles conked out at the wheel and crashed the car, breaking both his ankles. “While recovering from my car accident, I studied a lot more of Stockhausen’s concepts of music,” he wrote in his 1990 autobiography. “I got further and further into the idea of performance as process. I had always written in a circular way and through Stockhausen I could see that I didn’t want to ever again play from eight bars to eight bars, because I never end songs; they just keep going.”

“In a circular way.” It doesn’t quite roll off the tongue like the album he released three years earlier, but if In a Silent Way marked another new direction in Miles’ music, circularity was an ever-present. A sense that time in Miles’ world did not flow in the same way as clock time outside it. That within the constraints of forward motion - of linear, Capitalist, Western, White time – Davis was bucking and weaving and stretching and driving and crashing how it feels to move through the world.

And as much as I swear that listening to the final two tracks on ESP - 'Iris' and 'Mood' - are never the same length twice, writing about what's happening there turned out to be fiendishly difficult. In response, this piece became a kind of speculative collage of fragments, detours, returns and runaways, listening for traces of time in the works of Miles Davis.

You can find it alongside some lovely illustrations as part of @wejazzhelsinki special Miles Davis centenary edition, also featuring a superb piece by @francis_gooding on the "spiritual" in jazz, which should be taught on some kind of syllabus. by @anton.spice

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2 months ago

Glaciers are often spoken of as archives – frozen repositories of water, trapped air, rock and organic matter containing atmospheric information about the history of the planet. For many, Julie Cruikshank writes in ‘Do Glaciers Listen?’, they have existed as “eternally frozen, safely distant, and largely inert”. And yet, as the planet warms and awareness of their melting increases, these vast tongues of ice have taken on new meaning, becoming “a new kind of endangered species ... a cryospheric weather vane for potential natural and social upheaval.” The sound of melting ice has become shorthand for a climate grief foretold.

Late last year I had the pleasure of writing the liner notes for @pablodiserens' beautiful new album ebbing ice lines. Assembled entirely of field recordings made by Diserens on three trips to the Low Arctic, it stages an intimate encounter with a rapidly changing environment. Avian vocalizations, anthropogenic drones, geothermal pipelines, natural resonances, ice symphonies, geological shifts and volcanic eruptions are all characters in the drama of Diserens’ compositions. "What happens,” Diserens asks, “if we shift our perspective and sense of scale to embody that of a glacier?"

The album is out now and available on the @forms.of.minutiae Bandcamp. It's a really special record, go get it! by @anton.spice

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2 months ago

I have had the pleasure of working with @gigi_masin several times and have come to understand that the fundamental humanity of his music is rooted in his attitude to life. Whenever I speak to him, I come away feeling a little more inspired, a little more attuned to what's important and what makes it all worthwhile.

I find his music has often accompanied me in difficult moments and the weeks I spent writing the liner notes for his new album Movement earlier this year were turbulent. What emerged is in many ways the most personal piece of writing I've published for quite some time. It's nice to see it out in the world at last, on the inner sleeve of this great record.

When I previously spoke to Masin in 2022, we spent much of the time talking about the sea. A metaphor for life, he said. Sometimes gentle, sometimes cruel, but never at rest. “We change. We are always on the run. Maybe the old tracks and the old ideas need to be rethought in a different way. In a different language. In a different colour.”

Masin turned 70 this year and wrote an album he called Movement. It is evidence of him acting on his intentions. How reassuring to know there's always more time to do the same.

The lovely photos from our Q&A at Om taken by @gina_nowhere and of course thank you to the indefatigable Alessia @language_of_sound for making it all happen.

Movement is out now on @sacredbones by @anton.spice

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3 months ago

What an honour to share my latest Through Sounds interview with the one and only Annea Lockwood.

Annea's work has been an influence on so many, from her glass concerts and burning pianos to the river maps and durational field recording projects that followed. As someone who's own work is interested in the relationship between sound and time, these have been particularly important. So when I heard from Lawrence English that he was revisiting Annea's 1975 piece World Rhythms, I leapt at the opportunity to ask her about it.

In a series of generous answers to my questions, Annea discusses the origins of the project and the way in which it sits within her listening practice more broadly, reflecting on the qualities of sound as material, vibration and connection. There are so many quotes I could have pulled - you can read the full piece via the link in my bio - so consider this a taster...

"I have always been curious about sound, always listened consciously, probably encouraged early on by my parents, who were sensitive to environmental sound and immersed in music. Like all of us I think, I can find sound intoxicating, and listening to my back yard’s soundscape is deeply calming, especially at dawn and at dusk. That takes immersion, takes time. The longer we listen, (unless in a very noisy environment), the more our hearing threshold is lowered and the more detail we hear, more layers emerge, and the greater is the influence of that stillness, that encompassing concentration."

Thank you Annea and @room40shoots. World Rhythms is out now and available from Room40 on Bandcamp. by @anton.spice

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3 months ago

The walls of @metamorphika.studio hold traces of what came before: a ruin, a print shop, a space in-between.

This Saturday, on June 27, Heritage Coexistence Part 4 takes this palimpsest condition as its starting point: moving from the gallery outward into Hackney, where belonging, heritage, and gentrification are negotiated in real time.

Two roundtable conversations. A spatial installation. An open bar.

With @tersatto, Simon Ballester, @katmovser, @t_wickers , Nina Jang, @don.travis1, Cynthia Gilbert, @anton.spice , @marvingerrald

Part of @londonfestivalofarchitecture 2026
heritagecoexistence.com. Check out the link in bio. by @anton.spice

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3 months ago

I spoke to Loraine James about new album Detached From The Rest Of You for the latest issue of Disco Pogo.

Thank you @setfiretoloraine for the conversation. Wish I'd asked about the Jannick Sinner reference.

If you haven't yet, go listen to the record. It's on @hyperdubrecords and it's ace.

@discopogo.co is also out now. Prince is on the cover. That's cool too. by @anton.spice

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4 months ago

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4 months ago

My review of @sonicacts festival is in the latest issue of @thewiremagazine.

It took place the weekend that the US and Israel began bombing Iran and with so much work implicitly and explicitly dealing with listening in the context of conflict, colonialism, and environmental injustice, it was often difficult to know where best to place ones attention.

But at a time when many major European arts institutions are actively and inexplicably rejecting the political, this felt in itself significant.

Anyway, there was a lot to unpack and 500 words was never going to be enough, but I hope it gives a sense of what Sonic Acts is up to for those who weren't there. by @anton.spice

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5 months ago