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Spring in full action, and we are filled with that special optimism that inspires us to look further.

This edition we embrace innovation, magic, and the power of optimism through our wonderful network of artists, scientists, and creators. From illustrator Lou Bensch (@un_loup) to Chef Chantelle Nicholson (@chef_chantelle) , @shellworks_ Co-Founder Amir Afshar, and @polyphonia_studio at Milan Design Week.

What connects them isn’t obvious. That’s the point.

Sign up via the link in bio to read the Spring Edit.

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

We once had the rare opportunity to record the acoustic response of St Paul’s Cathedral.

Using the sharp transient of a balloon pop, we captured the cathedral’s reverberation and isolated its reverb tails. Those impulse responses were then applied to choral refrains and curated works performed live by three extraordinary choirs: The Sixteen, The London Bulgarian Choir and The London African Gospel Choir.

An example of how spatial acoustics can become compositional material in their own right. And super fun to do!

NEW WORK

Africa Cup Of Nations Opening & Closing Ceremonies

We were commissioned to compose and musically direct the Opening and Closing Ceremonies of the CAF AFCON 2025 in Morocco, bringing our Super Euphoria sound to a moment defined by Africa’s rhythm, pride, and unity.

In collaboration with Creative Director Carlos Navarrete-Patiño, Balich Wonder Studio and Avant Scène we created the musical landscape experienced by over 2.4 billion people worldwide. The soundtrack featured the voice of Idris Elba and blended large-scale ceremonial energy with authentic Moroccan musical expression.

The score drew directly from Morocco’s rich cultural heritage, collaborating with local musicians and the Atlas Singers, weaving traditional vocals and instrumentation into a contemporary narrative shaped by light as a unifying force, celebrating collective identity and shared pride.

NEW WORK

Africa Cup Of Nations Opening & Closing Ceremonies

We were commissioned to compose and musically direct the Opening and Closing Ceremonies of the CAF AFCON 2025 in Morocco, bringing our Super Euphoria sound to a moment defined by Africa’s rhythm, pride, and unity.

In collaboration with Creative Director Carlos Navarrete-Patiño, Balich Wonder Studio and Avant Scène we created the musical landscape experienced by over 2.4 billion people worldwide. The soundtrack featured the voice of Idris Elba and blended large-scale ceremonial energy with authentic Moroccan musical expression.

The score drew directly from Morocco’s rich cultural heritage, collaborating with local musicians and the Atlas Singers, weaving traditional vocals and instrumentation into a contemporary narrative shaped by light as a unifying force, celebrating collective identity and shared pride.

NEW WORK

Africa Cup Of Nations Opening & Closing Ceremonies

We were commissioned to compose and musically direct the Opening and Closing Ceremonies of the CAF AFCON 2025 in Morocco, bringing our Super Euphoria sound to a moment defined by Africa’s rhythm, pride, and unity.

In collaboration with Creative Director Carlos Navarrete-Patiño, Balich Wonder Studio and Avant Scène we created the musical landscape experienced by over 2.4 billion people worldwide. The soundtrack featured the voice of Idris Elba and blended large-scale ceremonial energy with authentic Moroccan musical expression.

The score drew directly from Morocco’s rich cultural heritage, collaborating with local musicians and the Atlas Singers, weaving traditional vocals and instrumentation into a contemporary narrative shaped by light as a unifying force, celebrating collective identity and shared pride.

CONGREGATION
A choral installation at PAC NYC
On Now until 4th January
Free / pay what you want - book your slot at PAC NYC site - link in bio
Perelman Arts Center, 251 Fulton St, NYC,
next to World Trade Center Memorial

Between April and August 2024 I made chalk and charcoal drawings of 50 strangers.
I knew only their first name, and nothing else about them, except that at some point in their life, they had to seek refuge, and they sought it here, in London. We did not speak for the first 45 minutes of the drawing session. We listened to Max Richter’s Four Seasons. A face to face encounter, unmediated by language. Emmanuel Levinas wrote: ‘the human face ordains and orders us; it’s first commandment is : thou shalt not kill”.

After 45 minutes they told me their stories, how they travelled to London, sometimes decades ago as a small child, sometimes months ago on a small boat.

We translated the drawings into a 24’ tall installation, projection-mapped with a choreographic sequence made in collaboration with Botis Seva, Joshua Shanny Wynter, Evie Gurney and Ruth Hogben. As a synonym for ‘refugee’ we used the phrase ‘those who bring their gifts to London’. Each sitter became a co-author of the work, guiding me how to paint their gift within the empty box they held on their lap.

First shown at St Mary le Strand church in collaboration with The Courtauld, Kings College London and UNHCR last year, and curated by Ekow Eshun, the installation is now open until January 4th at PAC NYC, Perelman Arts Center, 251 Fulton St, NYC. It has found new resonance at this charged site adjacent to the World Trade Center memorial.

Underscore composed by Polyphonia
Projection by Ruth Hogben and Treatment Studio with VYV
Supported by Bloomberg Philanthropies
The co-authors full stories can be found at Bloomberg Connects - link in bio
And there’s a BBC short doc about the making of the work - link in bio

CONGREGATION
A choral installation at PAC NYC
On Now until 4th January
Free / pay what you want - book your slot at PAC NYC site - link in bio
Perelman Arts Center, 251 Fulton St, NYC,
next to World Trade Center Memorial

Between April and August 2024 I made chalk and charcoal drawings of 50 strangers.
I knew only their first name, and nothing else about them, except that at some point in their life, they had to seek refuge, and they sought it here, in London. We did not speak for the first 45 minutes of the drawing session. We listened to Max Richter’s Four Seasons. A face to face encounter, unmediated by language. Emmanuel Levinas wrote: ‘the human face ordains and orders us; it’s first commandment is : thou shalt not kill”.

After 45 minutes they told me their stories, how they travelled to London, sometimes decades ago as a small child, sometimes months ago on a small boat.

We translated the drawings into a 24’ tall installation, projection-mapped with a choreographic sequence made in collaboration with Botis Seva, Joshua Shanny Wynter, Evie Gurney and Ruth Hogben.The poet JJ Bola contributed to the voiceover. As a synonym for ‘refugee’ we used the phrase ‘those who bring their gifts to London’. Each sitter became a co-author of the work, guiding me how to paint their gift within the empty box they held on their lap.

First shown at St Mary le Strand church in collaboration with The Courtauld, Kings College London and UNHCR last year, and curated by Ekow Eshun, the installation is now open until January 4th at PAC NYC, Perelman Arts Center, 251 Fulton St, NYC. It has found new resonance at this charged site adjacent to the World Trade Center memorial.

Underscore composed by Polyphonia
Projection by Ruth Hogben and Treatment Studio with VYV
Supported by Bloomberg Philanthropies
The co-authors full stories can be found at Bloomberg Connects - link in bio
And there’s a BBC short doc about the making of the work - link in bio

CONGREGATION
A choral installation at PAC NYC
On Now until 4th January
Free / pay what you want - book your slot at PAC NYC site - link in bio
Perelman Arts Center, 251 Fulton St, NYC,
next to World Trade Center Memorial

Between April and August 2024 I made chalk and charcoal drawings of 50 strangers.
I knew only their first name, and nothing else about them, except that at some point in their life, they had to seek refuge, and they sought it here, in London. We did not speak for the first 45 minutes of the drawing session. We listened to Max Richter’s Four Seasons. A face to face encounter, unmediated by language. Emmanuel Levinas wrote: ‘the human face ordains and orders us; it’s first commandment is : thou shalt not kill”.

After 45 minutes they told me their stories, how they travelled to London, sometimes decades ago as a small child, sometimes months ago on a small boat.

We translated the drawings into a 24’ tall installation, projection-mapped with a choreographic sequence made in collaboration with Botis Seva, Joshua Shanny Wynter, Evie Gurney and Ruth Hogben. As a synonym for ‘refugee’ we used the phrase ‘those who bring their gifts to London’. Each sitter became a co-author of the work, guiding me how to paint their gift within the empty box they held on their lap.

First shown at St Mary le Strand church in collaboration with The Courtauld, Kings College London and UNHCR last year, and curated by Ekow Eshun, the installation is now open until January 4th at PAC NYC, Perelman Arts Center, 251 Fulton St, NYC. It has found new resonance at this charged site adjacent to the World Trade Center memorial.

Underscore composed by Polyphonia
Projection by Ruth Hogben and Treatment Studio with VYV
Supported by Bloomberg Philanthropies
The co-authors full stories can be found at Bloomberg Connects - link in bio
And there’s a BBC short doc about the making of the work - link in bio

Library of Us created by @esdevlin commissioned by @faenaart and scored by us. A spectacular and deeply moving artwork. Loved making the music!

Library of Us created by @esdevlin commissioned by @faenaart and scored by us. A spectacular and deeply moving artwork. Loved making the music!