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Collected Resonances

@collected.resonances

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Collectively-run experimental music label based on unceded Ngunnawal and Ngambri Country

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Break(ing)down is out on bandcamp today :) and will be on other streaming services later this month. Have a listen, i put a link in the bio to make it easy. And then if you like it you can do the old fashioned thing of buying the record xx

this EP is part of an album that will come out in October!

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'Break(ing)down' sits in the middle of two extremes. Zoom in and you find awe-inspiring microorganisms breaking down detritus and completing the cycle of life; zoom out and we are faced with the cataclysmic breakdown of ecosystems and life on Earth currently held together by busy little bacteria and fungi.

The tension between two sides of the same coin: breaking down and breakdown. This EP explores these contradictions and parallels in a three-part structured improvisation using synthesisers and samples of the Australian bush.

'Break(ing)down' was inspired by and made in Mount Wilson, NSW, and its extraordinary variety of fungi growing there. With special thanks to @mt_wilson_artist_in_residence, and the ANU Love Supreme Grant, courtesy of Susan Grace, for supporting the creation of this work.

Composed, performed, and recorded in May 2025 by Ronan Apcar
All field recordings and samples by Ronan Apcar, except magpie (Peter Virag) and pied currawong + eastern whipbird (Marc Anderson)
Mixed by Nick Wales (@nickwalesmusic)
Mastered by Michael Lynch
Cover art and photograph by Ronan Apcar

Released by Collected Resonances (@collected.resonances) by @collected.resonances

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20min to go until SMCCLabLive#2 at the @anuschoolofmusic featuring staff and students as well as alumni of the ANU Experimental Music Studio taken in ANU School of Music by @collected.resonances

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Tonight at 7:30pm in the ANU School of Music Band Room you can hear the results of the neural net @ashleighhazelmusic built for this Viennese Sewing Table Piano from 1846 @anuschoolofmusic @ouranu taken in ANU School of Music by @collected.resonances

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New album coming soon featuring works from @ashleighhazelmusic @chloecomposes @meg_ganic and @huntercomposer featuring instruments from the @anuschoolofmusic Keyboard Institute’s Historic Instrument Collection taken in Ngunnawal Country by @collected.resonances

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Join us on 3 June for an evening of new and experimental music featuring Andromeda is Coming; researchers from the ANU Sound, Music, and Creative Computing Lab, and special guests from the Mechanical Landscapes project.

SMCClablive #2 is the second in the ANU Sound, Music, and Creative Computing Lab’s research performance series featuring new instruments, new sounds, and new artistic experiences on stage.

This time we feature Andromeda is Coming, Charles Martin and Alec Hunter, performing the live launch of their new album Hyphae. Hyphae explores intelligent musical instruments, improvisation, and the entangled growth patterns that connect performers and machines. Andromeda is Coming is a Canberra-based duo working at the intersection of experimental music, creative computing, and live performance.

Joining them on stage will be students, staff, and friends of the ANU SMCClab presenting their computational arts research in performance.

Join us for this evening of experimental computer music!

Program

Bad Microphone: Albert-Ngabo Niyonsenga + ensemble (networked prototype instruments)
words, noise, noise: Andrew Cox (mixed spoken word), Kian Macleod (guitar + pedals), Sandy Ma (blanket + pedals)
PVG sans PCB: Pia van Gelder
Mechanical Landscapes: works from three ANU alumni, Chloë Hobbs, Ashleigh Hazel, and Rosa Bassett, engaging with instruments from the ANU Keyboard Institute to explore memory, loss and the physical experience of sound.
Hyphae album launch: Andromeda is Coming, Alexander Hunter and Charles Martin, performing live with computer, electronic, and AI musical instruments. taken in ANU School of Music by @collected.resonances

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Hyphae is the co-creative project of Charles Martin and Alexander Hunter performing electronic instruments in collaboration with two interconnected machine-learning agents. Reacting against big-tech steal-all-your-art approaches to creative artificial intelligence, this project emphasises human touch and gesture with continuous computational input and bespoke, self-collected data.

Our work connects our unique synth and field-recording practice with, Charles Martin’s IMPSYpi, an intelligent musical instrument platform that attempts to perform like a human by controlling parameters on our synths over a MIDI connection. The IMPSYpis listen to signals from our physical music controllers, and attempt to continue performing when we stop. IMPSYpi is deliberately small-data, using a machine-learning model trained on our own improvisation. These intelligent instruments are beautifully imperfect; sometimes playing like us but often defying expectations, leaving our synths in in-human, but fascinating sonic states.

Even though our instruments are trained on human data, we don’t expect them to be humans. They blend into our instruments, pushing our sounds into unexpected places, leaving us to update our creative intentions moment-to-moment.

Hyphae articulates a truly co-creative practice where the output sound relies critically on both the artistic voice of the people performing and the computational model to make music that has never been heard before.

Tracking took place in December 2024 at the Big Band Room, ANU School of Music. Mixing and mastering was completed in March 2026 at KV Productions, Ainslie and Gorman Arts Centre.

This work was created on Ngunnawal and Ngambri land and we acknowledge the traditional owners and Elders past and present.

Releases June 1, 2026 by @collected.resonances

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by @collected.resonances

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