Reforestación Mutante (Mutant Reforestation) explores and interprets the cycles of destruction and growth in ecosystems altered by human intervention. From forests marked by fire and extractivism to the noise pollution of urban environments, new territories emerge, inhabited by mutated and latent agents: human, non-human, constructed, and artificial. The sonic DNA of Argentina's native forests, including sounds from amphibians such as the Scinax nasicus, along with machines, devices, and instruments, are amplified, reproduced, intervened, and cloned, building a mutant sonic territory. Through digital and analog processes, field recordings, spatialization, and AI-generated audio, a new immersive ecosystem emerges, one that is almost organic and synthetic, reflecting the resilience, destruction, and transformation of natural environments. A three-beat loop that structures the organic as growth, while automating and mutilating. It asks: What grows after death? Do frogs talk to machines? Focusing on time as a sensitive material, the piece asks how life gradually returns and grows after fire and what the actual situation is for those environments and species under constant threat of extinction, extending this question to a global scale. Reforestación Mutante is a process of regeneration and growth after destruction, while questioning the nature of that growth: is it resilient, hybrid, corrupt, or hopeful?

Dónde sea que esté, los escucho is a sound collage that reflects on inhabiting and listening as a nomad, tourist, resident, and native in different geographic environments. It is a re-signification and reinterpretation of soundscapes, exploring how listening is transformed through our lived experiences. Some of the field recordings include the capture of thoughts and improvised poems during walks in mountains and forests, where words arise directly from the experience itself. Dónde sea que esté, los escucho re-cognizes and re-hears sounds from different environments, exploring how sonic memory transports us to other places and reconstructs narratives through reinterpretation and the capacity to perceive—even in distant or unfamiliar habitats—the sounds that are familiar to us. Wherever I Am, the echoes of other geographies and experiences resonate in my listening, connecting the familiar with the foreign through sound and memory.

Lejos del Monte is a soundscape born out of distance. The echo of the Córdoba mountain forest, persisting in body and memory, dialogues with a present shaped by industry and technology. The work unfolds from a fragmented perception, weaving a sonic discourse of an artificial and synthetic environment, where memories of the forest filter through and emerge among the noises and daily stimuli, giving rise to the reappearance of natural and organic sonic ecosystems. The piece reconstructs territories and ecosystems that have been destroyed and exploited, where the organic and the synthetic must coexist and feed into one another, revealing the resilience and transformative capacity of living natural ecosystems. Lejos del Monte is also a form of resistance: an invitation to reflect on our environment, an attempt to make visible the territories devastated by fires and extractivist policies. Through listening, it proposes an emotional and sensorial activation and connection with that which is distant, yet persists and remains latent in our memory.

Sapa 1 is the first in a series of creative rituals that converge into experimental videos, serving as an artistic journal. The name "Sapa" is a play on words, referencing both "Zappa," the street where the studio is located, and the female form of "Sapo" (toad). The toad, through its vibrations or “song”, calls to mate and also as a way to preserve its territory. In this context, "Sapa" symbolize the act of creation through shared experience —a way of exchanging what has been given to us through belonging and choice, and the new territories we can create by sharing knowledge and cultures. "Sapa" is a call to those who resonate with this way of creating or listening, inviting to share this encounter to create a new Sapa. With no fixed structure, the project weaves together meditation, improvisation, tarot readings, and the use of artificial intelligence tools. Chance, energy, listening, encounter, dialogue, and improvisation are key elements of these rituals. The cover art features a drawing from the Rayaduras collection, reinterpreted by ChatGPT.

Portal del Sur is an EP consisting of four movements, exploring the connection between humans, nature, and technology. Field recordings of birds, frogs, and other natural sounds from the native forest of Argentina interact with a processed human voice and sounds created by electronic and analog devices. The work blends practices such as free improvisation, composition, deep listening, and meditation. Portal del Sur is a journey through textures and structures drawn from electroacoustic music, techno, break, experimentation, and ambient, creating an immersive soundscape. It serves as a gateway, inviting listeners to engage with the processes of transformation and adaptation shaped by the influence and belonging of different territories and cultures.

Leaving Leaves is the second album by Marmotas Dreams and the second in their compositional project, Voyage, which began in 2020 with Pequeño Kimono. This project seeks to explore ways of traveling through sound across diverse geographical landscapes, experimenting with different languages, phonetics, and sonorities. The second stop in Voyage, Leaving Leaves, consists of three pieces composed from fragments of Walt Whitman's Leaves of Grass. In this album, we work with the sonority of the English language, exploring the poetics and musicality of Whitman’s free verse, layered over electronic bases and sound processing. Leaving leaves is an exploration of free song.

Ravello Records and The Sonic Arts Ensemble present LIVE FROM THE MULTIVERSE, an album leveraging the possibilities of online performance and expanding the boundaries of contemporary music. Musicians from three different continents connect through the internet on low latency, high quality audio networks to perform repertoire ranging from composed, notated scores to freely structured pieces born from masterfully executed ensemble improvisation. With the utilization of extended techniques, singing bowls, and imaginative sound design, the ensemble develops and thrives in an enticing and innovative soundscape.// Review by Take Effect: “A Rising Tide Of Light”, the best track, lands in the middle, and recruits Norah Zuniga-Shaw’s voice, James Croson’s keys, and Berenice Llorens’ guitar for a very dreamy, psychedelic exploration of chamber prog-rock ideas, while “Octet/Sextet”makes great use of Joseph Sferra’s clarinet, Samuel Gardner’s keys and Ainger’s laptop manipulation into a very distinct electronic influenced landscape.