Jay-Dea Lopez

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Interview with Sebastiane Hegarty part I by Jay Dea Lopez Sebastiane Hegarty is an artist, writer and lecturer. His creative practice is interdisciplinary a...

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Circle wind HIROKI SASAJIMA (Felt Collective 2013) Review by Jay-Dea Lopez Night-time. Without light to guide us we are reliant upon auditory cues. Surround...

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Terra Subfonica. DANIEL BLINKHORN (Gruenrekorder 2013)  Review by Jay-Dea Lopez Sounds that exist beyond the periphery of our consciousness have a curious w...

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Sabbion. ENRICO CONIGLIO (Green Field Recordings 2013) Review by Jay-Dea Lopez There have been several studies by field recordists into the various tonaliti...

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Helgoland. LASSE MARC-RIEK (Gruenrekorder 2013) Review by Jay-Dea Lopez Field recordists often demonstrate the concept of place through its indigenous sound...

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Rituel de la mort du Soleil. KASSEL JAEGER (Unfathomless. 2013) Review by Jay-Dea Lopez As the sun sets darkness closes over the region of Pellechevent, Fr...

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tʃɔːk - eight studies of hearing loss. SEBASTIANE HEGARTY (Very Quiet 2013) Review by Jay-Dea Lopez What is the audibility of loss? This is the central ques...

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The great silence. JAY-DEA LOPEZ (3Leaves 2013) Review by David Vélez '...deathlike, dismal, gloomy and appalling...' These are words used by British colon...

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Four walks around a year: Spring. SEBASTIANE HEGARTY (Gruenrekorder 2013) Review by Jay-Dea Lopez It is often said that a place cannot be known until each o...

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Systemic Collapse. JAY-DEA LOPEZ (Impulsive Habitat 2012) Review by Flavien Gillié Cet album de l'artiste australien Jay-Dea Lopez et paru sur le netlabel I...

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Optical Sound Films 1971-2007. GUY SHERWIN (Lux 2007) Review by Jay-Dea Lopez Those of us working in the field of sound are aware of the hierarchy that plac...

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Songs of the Living / And the Lived in. LAWRENCE ENGLISH (Room40 2012) Review by Jay-Dea Lopez Since the advent of affordable digital recorders there has b...
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Jay-Dea Lopez

Editor

Sound artist and journalist at Sounds Like Noise.