How does Syrian death metal sound in the midst of the civil war? Where is the border between political aesthetization and inappropriate exploitation of death?

  • Mohamed Yaghi in Gaza-City (Credit: Hossam Hamdi Abu Dan)
    A Frequency Called Gaza
    Mohamed Yaghi
    He left Gaza, but it did not leave his ears. A Palestinian sound engineer reflects on how a place becomes a frequency that follows you into exile. What happens when you can no longer filter it out?
  • A photograph of the waterlogged battlefield at the Battle of Passchendaele (October-November 1917) near Ypres in Flanders, Belgium during the First World War (1914-18). Photograph taken by Frank Hurley.
    «My role as a composer is to surface truth»
    Interview by Hugo Emmerzael
    How can music capture the violence of war without turning it into spectacle? Grammy Award-winning composer Sam Slater talks about scoring documentaries like «Chernobyl» or «2000 Meters to Andriivka», blending frontline sounds, ghostly voices, and self-built instruments.
  • Sound Walk by Anna Khvyl, Rotterdam 2023 (photo: Ran Perry).
    We Listen, but Other Agents Are Always Listening Back
    Introduction by Philipp Rhensius, Katía Truijen
    When talking about listening in the broadest sense, listeners are usually at the center of attention. In this dialogic essay, Rewire Festival’s context curator Katía Truijen and Norient’s editor Philipp Rhensius what happens when the sound listens back.
  • Focused Listening on Soundwalk
    Quotation by Anna Khvyl

    «During focused listening on soundwalks we can sink our attention into the depths of the sounds.»