OpenAI’s new flagship model deletes files on its own, people keep warningA number of social media posts claim that GPT-5.6 Sol deleted files and data without warning. OpenAI had basically disclosed the problem in June.

Three US senators oppose CLARITY Act on ethics grounds with vote expected soonSenate Majority Leader John Thune reportedly said the chamber will consider a vote on the crypto market structure bill before Aug. 10, though it’s unclear whether it has enough Democratic support to pass.

How to get a dream pop guitar tone
Learn how to craft a guitar tone that's perfect for dream pop via our step-by-step guide.

The Neo Geo Does Run DOOM After AllDemonstration of the DoomGeo port of Doom to the Neo Geo. (Credit: Sabino, GitHub)
Perhaps the most ridiculous statement that anyone can make is that a computer system with clearly enough processing power ‘cannot run DOOM‘. This is why we accept the premise that a PDP-11 cannot run this game, but something on the order of a Neo Geo gaming console with its 68000 processor and for the time impressive GPU definitely ought to be able to.
The stated problem here is a lack of RAM for a framebuffer, with the CPU only having 64 kB to play with. This limitation now has seen two different approaches to try and circumvent it, as covered by [Modern Vintage Gamer].
The first project here is Doom64kB, which as the name suggests tries to somehow work with this system RAM limitation. It uses the Doom8088 port for the original IBM PC and similar Intel 8088-based systems. This had to massively reduce the feature list, including the lack of texture mapping for floors and ceiling, no saving or loading, and no music.
The other project is DoomGeo, which doesn’t try to bend the Neo Geo hardware to its will, but accepts the Neo Geo way of doing things: involving sprite strips, pre-baked graphics, fix-layer UI, and a minimum of runtime data. This of course drastically changes how the Doom game engine normally works, with its framebuffer-based rendering.
From this we can thus conclude that it’s not so much the processing power that limits where DOOM can run, but more of how framebuffer-friendly the system architecture is, yet with some ingenuity and a complete rewrite of the game engine even that is no major obstacle.
(Top image: Neo Geo AES console. Credit: Evan-Amos, Wikimedia)

FIFA World Cup 2026: The Songs, the Stats, and Why “Goal” Is Music’s Real MVPAs the FIFA World Cup heads into its final stretch, a new data snapshot from LyricFind highlights something fans already know instinctively: the tournament doesn’t just dominate the pitch—it echoes through music across the globe.

Analyzing more than 17 million songs in its database, the company mapped out how football culture shows up in lyrics, from recurring themes to the players and countries artists reference most. The findings reveal a deep and lasting connection between the sport and the songs that surround it.

Among the most striking takeaways is the dominance of a single word: “goal.” Appearing more than 63,000 times, it stands as the most frequently used football-related term in lyrics.

Other commonly used terms include “champion” (17,800 mentions) and “World Cup” (1,100 mentions). The disparity suggests that while artists may not always reference the tournament directly, they consistently tap into its emotional core—victory, ambition, and the pursuit of greatness.

When it comes to players, Pelé remains the most referenced name in lyrics by a significant margin, with more than 33,000 mentions. His influence extends far beyond his playing career, cementing his legacy as both a sports and cultural icon.

He is followed by a roster of modern and historic greats, including Lionel Messi, Cristiano Ronaldo, Neymar, and Diego Maradona—names that continue to symbolize excellence across generations.

Several official and unofficial World Cup songs continue to hold a strong presence in global music culture.

Tracks like “Waka Waka (This Time for Africa),” “The Cup of Life,” and “Wavin’ Flag” have outlived their respective tournaments, continuing to chart and re-emerge in playlists during each World Cup cycle. Their longevity underscores how music can extend the life—and memory—of the event itself.

LyricFind’s VP of Marketing, Alex Bellissimo, emphasized the natural overlap between sport and music, noting, "Music and sport have always spoken the same language. The connection between passion, identity, and belonging runs deep through the World Cup and the songs people sing in the stands and listen to at home during and after the games. This infographic is our way of proving that football not only has an impact on lyrics, but it's a significant one. We're delighted to put a spotlight on it”

Ultimately, the data reinforces what fans experience every four years: the World Cup is as much a cultural event as it is a sporting one. Long after the final match concludes, its influence continues—playing out in lyrics, anthems, and the shared soundtrack of the global game.

Pelé photo by AFP/SCANPIX via NationalencyklopedinThe post FIFA World Cup 2026: The Songs, the Stats, and Why “Goal” Is Music’s Real MVP first appeared on Music Connection Magazine.

AEG Presents expands Venue Development team, promoting Cameron Marcotte to VPAlongside Marcotte, Jake Hiersteiner and Mike Ryan have been promoted to Director roles, alongside three new hires.
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MUEDsp releases two FREE macOS mastering plugins
Developer MUEDsp has released two free macOS plugins, MUEDsat and MUEDlim. Both plugins are taken from MUEDsp masterchain, a mastering suite that is currently in development. According to the developer Atsushi, each plugin is an actual stage from the master-bus chain used by the developer, pulled out and made free. So basically, these are not [...]
View post: MUEDsp releases two FREE macOS mastering plugins

MAP Audio PAM is a deep pattern-based sampler with an exclusive BPB discount
MAP Audio’s PAM is a pattern-based sampler and drum-synth instrument for macOS and Windows, currently available with an exclusive 15% BPB discount. Use the coupon code BPB15 at checkout to get 15% off PAM until August 15. The regular price is $150, and MAP Audio also offers a rent-to-own option and a 7-day fully functional [...]
View post: MAP Audio PAM is a deep pattern-based sampler with an exclusive BPB discount

Launchkey MK4 88 joins Novation line-up Rounding off the Launchkey MK4 collection, the new arrival pairs a semi-weighted 88-note keybed with the DAW integration, built-in creative tools and intuitive workflow features offered by its 49- and 61-key siblings. 

Novation unveils new 88-key Launchkey MK4 controller – the largest keyboard in the MK4 range yetNovation’s on a roll: after launching a sleek white edition of its Launchkey 61 MK4 keyboard controller just last month, the company has expanded its Launchkey MK4 range even further with a new 88-key controller, which enters as the largest keyboard in the current lineup.
Boasting the same deep DAW integration, rich creative tools and intuitive workflow as the existing MK4 Launchkey 49 and 61 models, the Launchkey 88 arrives with an 88-key semi-weighted keybed. This means more than seven octaves to play with, plus full-size keys for a totally “expressive” experience.

READ MORE: “A new benchmark for bass”: Baby Audio SubCulture supercharges your bass while keeping it in tune with your track

The Launchkey 88 MK4 also features 16 velocity-sensitive pads with polyphonic aftertouch and Novation’s patented Force Sensitive Resistor technology – perfect for tapping drums or melodic instruments, even.
Like other keyboard controllers in the MK4 range, the new Launchkey 88 boasts a bank of nine precision faders and eight endless encoders, which map automatically to key parameters of supported NKS plugins and DAWS, including functions for transport, mixing and navigation.
Supported DAWS including Ableton Live, Logic, Cubase, FL Studio – which just launched its 2026 edition – Reason, Bitwig, and Ardour.

The keyboard also sports a raft of creative tools, including Arpeggiator and Chord Modes for easily creating musical progressions that make sense, a Scale Mode – which locks notes on the keyboard to a selected key, and Chord Detector, which displays the chord currently being played on the OLED display.
You can even split and layer the keyboard, too, meaning you can divide it into two independent zones, and layer two independent MIDI channels on top of one another and play them using the same keys.
And on the subject of MIDI, there’s also a full-sized MIDI out port so you can control synths and other hardware using the Launchkey 88 MK4.
Credit: Novation
The Launchkey 88 MK4 also comes with a suite of software instruments and tools, including Ableton Live Lite, Cubase LE, and Novation Play, an exclusive Novation software instrument based on sampled acoustic pianos, vintage synths, and “cutting-edge” sound design. There’s also a collection of instruments and effects from Klevgrand, GForce, Orchestral Tools and Native Instruments.
Following the launch of the white Launchkey 61 MK4 last month, the addition of the new Launchkey 88 MK4 means the MK4 range now spans 10 controllers across six different sizes and two colour options.
Price-wise, the Launchkey 88 MK4 clocks in at $449.99/£379.99. Learn more at Novation.
Credit: Novation
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“A new benchmark for bass”: Baby Audio SubCulture supercharges your bass while keeping it in tune with your trackBaby Audio has launched SubCulture, an innovative new bass enhancement plugin that detects the pitch of incoming low-end signal and brings it to life while keeping it in tune with your project.
18 months in the making according to Baby Audio – which earlier this year unveiled its Grainferno plugin, aiming to “redefine granular synthesis – SubCulture could be the solution to give your basslines the energy you’ve been looking for.

READ MORE: Safari Audio expands its virtual synth collection with vintage Juno-style PolyRex

Designed to augment the low frequency content of an incoming monophonic audio signal, the enhanced low-end material generated by SubCulture is designed to stay in tune with the original audio signal – essentially offering you improved bass power while remaining musical.
At the core of the plugin are three bass enhancement engines: Sub Layer, Root Boost and Resonance.

Sub Layer adds a pitch-shifted sub-octave version of the input signal up to two octaves below the original. Root Boost is basically a pitch-tracking EQ band that adds up to 18 dB of boost or cut at the fundamental frequency of the input note.
And finally, the Resonance engine is a parallel filter network inspired by classic analogue designs. Baby Audio explains: “Optimised to work together in complementary dimensions, each processor plays a role to reinforce, enhance and extend the critical low frequency material in the signal.”
SubCulture also features saturation and compression sections based on analogue modelling – which can be harnessed to add “punch, harmonics and dynamics” to your basslines.
While SubCulture is aimed predominantly at producers looking to enhance their basslines, it can also be used creatively to augment any incoming audio signal, Baby Audio says.
SubCulture looks to offer a real playground for ground-up creativity, but it also launches with 177 custom presets from top producers and sound designers – including Craig Bauer, Dakota G and Eryck Bry – so you’ll have plenty of inspiration points to get started.
SubCulture is available now at an introductory price of $79 (normally $129). Learn more at Baby Audio.
The post “A new benchmark for bass”: Baby Audio SubCulture supercharges your bass while keeping it in tune with your track appeared first on MusicTech.

MIDI Innovations Awards 2026 Now in their sixth year the MIDI Innovations Awards are a joint venture between The MIDI Association, NAMM and Music Hackspace, and serve to shine some light on both commercial and non-commercial products that use MIDI in interesting ways.

Safari Audio expands its virtual synth collection with vintage Juno-style PolyRex
Alongside its slew of pedal plugins, Safari Audio is steadily expanding its selection of virtual synths. The company’s latest offering comes in the form of PolyRex, a plugin that captures the essence of vintage polysynths and injects it straight into your DAW.
While there are countless virtual models of the legendary Roland Juno-106, Safari Audio’s PolyRex takes a new stab at capturing the charms of the vintage synth. While emulating such an iconic sound can be a daunting task, the team approached it with a simple goal: making a synth that felt “immediate, fun, nostalgic, and filled with inspiring sounds”.

READ MORE: Tom Oberheim at 90: “I can never retire, first of all”

Rather than drowning behind an intimidating interface, PolyRex provides users with all the warmth and texture of the Juno in a simple, accessible form. Users can experiment with modulation options, an arpeggiator, and even take advantage of a built-in catalogue of chorus, delay or spring reverb effects to make the process feel less intimidating.

“With PolyRex, we wanted to capture the feeling that made us fall in love with vintage polysynths in the first place; it’s all about inspiring sounds, a simple workflow, and an instrument that invites you to keep playing,” Safari Audio explains.
Although there’s a focus on a simple workflow, that doesn’t mean PolyRex is lacking in features. In fact, the plugin has plenty of features to experiment with. Whether you’re keen to explore its vintage-inspired oscillator selection (including square and sub oscillators, as well as a noise generator and LFO pitch modulation), or add more movement through glide or pitch and LFO controls, there’s many ways to add texture and charm to your sound.

 
Compatible with all major DAWs, PolyRex comes as Safari Audio’s third virtual synth to date, joining the Cubby and Super Chunk. If you’re keen to add a Juno emulator to your arsenal, the PolyRex could be a good place to start – and, with it currently sitting at a 50% off introductory price at Plugin Boutique, it makes the product all-the-more enticing.
PolyRex is currently 50% off at Plugin Boutique, costing £35. For more information on PolyRex, head to Safari Audio.
The post Safari Audio expands its virtual synth collection with vintage Juno-style PolyRex appeared first on MusicTech.

Can Meaw Chain make “vibe mixing” a thing?$60, safariaudio.com
The secret to top-notch sonics rarely lies in a single plugin. Selecting multiple, complimentary audio effects and chaining them in sequence for maximum impact – this is the real art of mixing.
How you actually achieve this alchemy has always been slightly mysterious. Producers spend years perfecting a ‘signature’ vocal chain, and many mastering engineers closely guard what goes on their mix bus. For those just starting out, the whole thing can be overwhelming. Meaw Chain, the latest release from Safari Audio, sets out to change this. Armed with AI, it can analyse your audio and give you a suitable chain of plugins based on text prompts.
So, should we rejoice that a core part of music production has been made more accessible? Or is ‘vibe mixing’ a paint-by-numbers game, offering more novelty than utility?

READ MORE: Mastering The Mix’s Reference 3 tells you exactly how to fix your mix

This is actually the second AI creation from Safari Audio. The first foray, Meaw Assist, functions as an in-DAW chatbot that can listen to your track and offer production or mix advice. Meaw Chain builds on those foundations but adds a plugin wrapper, allowing it to host VST3, AU, and AAX formats.

Upon first use, I am greeted by a salmon pink interface and a short quiz intended to gauge my level of experience, the kind of projects I am working with, and what I’d like Meaw Chain to focus on: creative ideas and inspiration, technical feedback and fixes, or a bit of both. Next up is a quick scan of my installed plugins and then I’m off to the races.
In plain language I’m able to describe what kind of sound I’m looking for—in this case ‘dark but punchy drums’—and, with only a second or two of processing time, Meaw Chain presents me with a bespoke chain of audio effects matching my criteria. Happily, each generated chain is accompanied by a text explanation that details what changes have been made to the audio and why.
Results from my initial prompts are heavy handed to say the least, but I can’t pretend I’m not impressed by the seamlessness of the process and how easy it is to tweak the chain with a few follow-up requests. For even better results, Meaw Chain can analyse a track’s audio, allowing future prompts to be contextualised against this analysis.
Meaw Chain initial settings. Image: Press
Safari Audio is first and foremost a plugin maker, offering a respectable range of audio processing and effects which serve as a strong starting point to see what Meaw Chain can do. However, the developers have wisely chosen not to limit Meaw Chain to its own plugins, and, at time of writing, it supports 130 third-party plugins from makers such as Arturia, FabFilter, iZotope, SSL, Soundtoys, Universal Audio and more.
I will say that, left to its own devices, Meaw Chain has a tendency to prioritise plugins from the Safari Audio lineup in the chains it generates. You can, however, direct Meaw Chain to use or exclude individual plugins, or to draw only from certain developers, which is a nice touch.
But the real surprise is Meaw Chain’s ability to manipulate parameters within plugins from any developer. The chains that it generates aren’t using a plugin’s supplied presets, instead, parameters are dynamically changed to fit a prompt – meaning users can zero in on individual controls and ask for changes. Of course, you can also expand a plugin’s window and move a dial using the cursor, but, really, where’s the fun in that?
Meaw Chain inaccessible parameters. Image: Press
There are limitations to all this. A few times I ask for a specific parameter change only to be told that the parameter can not be accessed. At other times, Meaw Chain seems to get overlapping parameters confused. For example, a request to make my dark and punchy drum chain a bit brighter resulted in boosted high frequencies and a low pass filter.
It should also be said that Meaw Chain paints with a broad brush. The more specific and detailed you want to be, the less sense this workflow makes as repeated prompting is hardly more efficient than just doing things by hand.
However, if you just want to quickly try out ideas, it can be powerful. Each new plugin chain you generate is stored in your chat history, meaning you can build up a set of variations and then A/B them to compare results. Not only that but you can also access the full history of conversations you’ve had with Meaw Chain across any project or DAW – turning it effectively into an ever-evolving bank of presets that can be reused or tweaked to fit each new mix.
However, the more I consider what Meaw Chain is truly useful for, and who it’s useful for, the more thorny my questions get.
Meaw Chain drum bus chain. Image: Press
To make the most of Meaw Chain, I would argue that you need to have a decent store of third-party plugins – and therein lies a paradox. The people who will benefit the most from Meaw Chain are likely to be those still learning the finer points of music production — these users are also less likely to have invested in a wide selection of tools. On the other hand, if you are an experienced bedroom producer or a studio professional with lots of audio plugins at your disposal, then do you really need the kind of simplified mix assistance Meaw Chain offers?
That said, this is a fascinating and genuinely cool implementation of AI in a music production context. Yes, the results it gives you work better as starting points, and it doesn’t offer the kind of specificity needed to get a mix up to a professional standard, but as the number of third-party plugins Meaw Chain supports continues to grow, as its audio analysis increases in quality. As its ability to manipulate specific parameters attains higher fidelity, we might just see mixing via prompts become the new normal.
Meaw Chain mastering chain. Image: Press
Key features

AI-assisted plugin chain builder
Chat-centred user interface generates plugin chains via text prompts
Hosts Safari Audio and third-party plugins
130 third-party plugins supported from major developers
VST3, AU and AAX formats

The post Can Meaw Chain make “vibe mixing” a thing? appeared first on MusicTech.

How Auntie Flo’s ‘Plants Can Dance’ compilation celebrates a new species of producersDJ and producer Brian D’Souza, also known as Auntie Flo, is behind a new compilation, Plants Can Dance, pulling together a number of music-makers with a shared vision: to use nature as a collaborative partner for their music.
Plants Can Dance by A State Of Flo
“I have a newfound respect for the natural world and hope this work inspires others to feel the same,” D’Souza says, who has showcased his own plant-based sonic experiments at British institutions such as the Tate and V&A.
“80 percent of us now live in cities and are mostly surrounded by concrete. I see this work as literally breaking through those concrete layers, uncovering a world that was previously hidden. By using sound as the point of entry, I’ve been able to re-tune my entire perspective on the living ecosystem that is all around us.”

READ MORE: Tom Oberheim at 90: “I can never retire, first of all”

The processes behind each electronic piece differ, from interpreting plant biodata into sound to translating wind patterns into compositions — with varied and engaging results. Modern Biology, Dr Helen Anahita Wilson, OMMA (founder of Playtronica) and Jason Singh are among the compilation’s cast.
“Through biosonification I can interpret the world of other living entities and share this with people in ways that traditional music making or performing hasn’t allowed,” says Jason, whose track Tsubaki features.
“By mimicking the natural world through my voice, I feel a deeper connection with both my internal and external environment. The more I explore, the more I find out that I know very little about nature and that there is so much to learn.”
Brian D’Souza. Image: Press
Plant experiments
If you’ve headed down to the Hideout venue in Hackney Wick of late, then you might have come across D’Souza and his fellow explorers at his Plants Can Dance events. It’s not the usual kind of music night – there’s arguably as much soil as there are synthesisers and modular equipment alongside discussion and workshops with everyone encouraged to contribute. The concept behind Plants can Dance initially stemmed from a commission D’Souza received for a project called ‘Dandelion’ at the UK’s Unboxed festival in 2021.
“The project was all about vertical farming and they positioned these boxes they called Cubes Of Perpetual Light around remote locations around Scotland, with a surround sound set up inside that you could immerse yourself in if you encountered them,” says D’Souza. “I made my piece using MIDI captures of herbs around my garden – sage, basil and rosemary using a PlantWave device and put together a piece.”
Field recording was initially D’Souza’s way into working with plants, a practice he has always undertaken via his phone. He was encouraged to amplify this part of his work via a course with Cabaret Voltaire’s field recording expert, Chris Watson.
“I spent thousands of pounds on a variety of mics and that got me deeper down the path of trying to capture the natural world through sound,” D’Souza explains. I then went on a week-long CAMP.Fr course on Ecoacoustics, which provided more inspiration and direction when it came to the purpose of using sound as a means of connecting with nature.”
“The simple act of listening deeply and intently was a revelation to me – and this heightened ability for attentive listening was made possible through the field recording techniques I’d learned.”
Helen Anahita Wilson. Image: Press
Helen Anahita Wilson’s work is strictly in biophilic composition as opposed to biosonification, which involves capturing MIDI from organisms. Instead, her approach is to translate plant processes, then embed this data within her compositions to create music that tunes into an organism’s character.
“My way into this kind of plant-derived work – which I call biophilic music – was through working with medicinal plants and wanting to raise awareness of the natural derivation of certain pharmaceutical drugs,” Helen states. “I was, and still am, very interested in creating plant-derived biophilic music for healthcare settings.”
“My projects under the name PLANT VOX are also examples of using herbs and medicinal plants to create music which aims to create the same effect on the listener as if they had ingested those plants, i.e. listening to a piece of music that helps you get to sleep, made from plants that also have that same soporific quality.”
OMMA. Image: Press
Plants Can Dance
D’Souza’s interest in working with plants was accelerated by the COVID lockdown and solidified over several artistic commissions: Mushroom Music for the mycelium pavilion at Glastonbury and sonifying a show garden at the Chelsea Flower Show. Although he believed these nature-based projects would be one-offs, conversations and experiments continued to expand.
“Through my various projects, I started to meet musicians around the world who are on a similar journey to me – all with their own unique story to tell,” he says. “So the compilation is a way of bringing all these approaches together under one roof, which will hopefully inspire more to get into nature-inspired music. The lesson is, once you start putting yourself out there, you end up meeting other likeminded souls and that helps you grow a community, both locally and online.”
Jason Singh got on board through a mutual connection with D’Souza. With roots in the Punjab in North India, his great-grandmother was a Hakim, a plant-wisdom holder and healer who worked with plants from the forest to help people.
“Indian music is an ancient system where melody and rhythm is directly derived through nature via the seasons, time of day, colours, animals, insects and the planets,” he says. “I have been raised with this so the relationship has always been there, not as something experimental or academic but direct and experiential. I was raised on Indian ragas through Indian classical and folk music, and this flowed through me from an early age.”
Jason Singh. Image: Press
Initially, Jason started using specialist microphones and was influenced by the electronic music of artists like Mileece, Eberhard Schoener and Charles Dodge. As technology became cheaper and more open source, he purchased a MIDI Sprout device – this enabled him to connect plants to his hardware and powered his piece, Tsubaki.
“This is the Japanese word for Camellia, and was originally part of a long-form piece I created for an eight speaker sound installation at The Camellia House in Woolaton Park in Nottingham,” he states.
“People come from all over the world to see the Camellia bloom in late winter/early spring and I wanted to create a sound installation where not only could people experience the visual aesthetic of the flowers but also affect the mood and emotion of the space through the hidden music created by the plants themselves.”
“There was also a plant music concert where musicians played live with the Camellia. I reworked a section of the piece and my dear friend, cellist Liz Hanks, played a really emotional composition to accompany the Camellias composition.”
Jason used a MIDI Sprout device to capture the plant data, then played the MIDI files via Ableton.
“I did this through a range of pads, effects and bespoke plugins designed by Leafcutter John,” he states. “I also used Arturia’s Pigment synth as I really like the pad sounds in that software synth.”

Helen’s approach is aimed at expressing the characteristics of the organisms rather than compiling an archive of plant recordings.
“I like to work with bioelectricity monitors, conductivity monitors such as PlantWave and the Pocket Scion, real audio recordings, and with botanical analyses and genetic data to record and find interesting little patterns which seem musical to me in some way,” she says.
“Once I spot something promising in the plant biodata that I can translate into rhythms and pitches, then I develop that fragment using techniques from Western and South Asian musics that can convey characteristics and behaviours of the plants involved,” Helen continues. “I always use Ableton for this kind of work. In Porcupine and the Outdoor Girls [her contribution to Plants Can Dance] I used data recordings and botanical information from the toxic Porcupine tomato and the edible Outdoor Girl tomato as the original source material for the composition.”
D’Souza track Hector’s Sunflower opens the compilation and was inspired by his son and the sunflower seeds he was gifted at school.
“It was fun to watch them flower and the sunflowers to grow over the course of last summer,” he explains. “I originally took some MIDI readings throughout various stages in its lifecycle but ended up not using them and instead recording a whole album in a day, which came out on Music To Watch Seeds Grow By in January.”
While the Plants Can Dance compilation is now released, D’Souza is keen for it to signpost the possibilities for anyone to work with plants.

“The idea is to make things as accessible as possible to help others feel inspired, most of the tech is open source and with a bit of time and knowledge can be adapted and built upon,” he says. “The scientific research is still very young and plenty of things we are yet to discover in terms of the deeper themes around plant sentience or even intelligence.”
Alongside the album, D’Souza is planning on launching a new app – Soniferous – while also updating his modular setup and gear.
“I’m a purist in terms of not running any kind of clock and not adding any human playing into my compositions. My role is to set up the patching ecosystem and then let the plant or organism do the work. The more performances I do, the less I do. My role is sometimes just to occasionally water the plants and hear how that sounds. I find audiences tend to appreciate that more.”
Find out more about Plants Can Dance at A State Of Flo | Brian d’Souza | Substack
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