NCTMMRN

Sergei Tumanov

NO RADIO THIS TIME? conceptual sound work which explores the invisible architecture of the contemporary environment. What we perceive as silence is, in reality, a dense and continuous field of electromagnetic activity. Radio transmissions, wireless communication, navigation systems, satellites, and countless digital infrastructures coexist around us, occupying the same physical space while remaining beyond the limits of human perception. The work investigates this hidden presence, not as technology, but as landscape. Field recordings become a point of departure, gradually intersecting with translated radio activity, electronic textures, and spatial sound processes. The distinction between natural ambience and technological interference begins to dissolve, suggesting that today's environment can no longer be separated into "nature" and "signal." Instead, both coexist as components of a single acoustic ecology. FIELD ultimately asks a simple question: Does silence still exist, or has it merely become inaudible?

Saliatahn | Midnight

The Air We Breathe is a collaboration between Australian sound artists Saliatahn (Sergei Tumanov) and Midnight (Eileen Francisco), originally created for Dark Ambient Compilation (Vol. 28) by UK label Sombre Soniks. Emerging now as an independent release, the piece unfolds as a meditation on atmosphere, breath, and presence. Layers of drones, subtle electronics, and shifting textures create a dense yet fragile sound field - hovering between ambient calm and quiet tension. It invites deep listening: headphones on, lights low, attention open. The Air We Breathe gestures toward what we rarely perceive - the air itself, the vibration between silence and sound. For both artists, this collaboration stands as an exploration of subtlety, atmosphere, and the interstitial space between noise and stillness. It resonates within the broader lineage of dark ambient and experimental electronics, yet maintains a distinct voice: intimate, slow-burning, and immersive. Take a breath. Listen closely. The air is never silent.

..dno< sound theatre

Exploring Sonic Geographies with ..dno< sound theatre Saint Petersburg, Russia — The origins of ..dno<’s latest project trace back to a serendipitous moment on a freeway in Saint Petersburg, where artists Sergei Tumanov and Denis Sorokin encountered an open drainage pipe. Intrigued by the mysterious resonance of airflows within the pipe—a sound shaped by the energy of one of the city’s busiest highways—they captured the unfiltered acoustics of the tunnel. This raw recording now forms the centrepiece of their new release, offering an unedited glimpse into the auditory textures of urban infrastructure. This project, born of spontaneity and curiosity, unfolds across two tracks that explore connection, geography, and collaboration through sound. The second track preserves the original, untouched tunnel recording, revealing its stark and meditative qualities. The first track builds on this foundation, layering it with two contrasting elements: an orchestral rehearsal recorded at the Ayni Opera and Ballet Theatre in Dushanbe, Tajikistan, and the ocean’s whispers, captured in the beautiful Portsea, Mornington Peninsula, Victoria, Australia. The juxtaposition of these recordings represents more than a sonic experiment. It symbolises the merging of disparate geographies and creative energies. Tumanov and Sorokin, based in Melbourne and Dushanbe, respectively, weave their current environments into the project, uniting through shared memories of their time together. The Tunnel recording—created in Saint Petersburg, where their collaboration began—serves as both a foundation and a metaphor for their enduring artistic connection. With this release, ..dno< once again demonstrates their commitment to pushing the boundaries of contemporary sound art, using field recordings, orchestral fragments, and natural soundscapes to bridge physical and emotional distances.

Saliatahn

This album was born from a single moment: a recording of the wind during a powerful weather event in Melbourne, captured by Dr. Duane Hamacher. That sound, raw and unpredictable, became the sole source material for the entire project. Using a granular synthesizer, I explored its textures and tones, uncovering layers of movement and resonance hidden within. The result is a single composition in the realm of ambient soundscapes and sound art. It reflects the interplay of chaos and calm, shaped by the energy of natural forces. By limiting myself to this single sound source, I aimed to explore the subtle and transformative qualities of the wind, translating its textures and movements into something both intimate and expansive. This piece is an invitation to listen more closely and find music within the unseen currents around us.

Saliatahn

Composition '23 Shades Of Unrelated' created specifically for Dark Ambient Compilation (Vol. 23), released by Sombre Soniks (UK) // SomSon175

Sergei Tumanov

Track 2021.1.31.5.59.55 is based on "Knickpoint" track. The original track is released on the "crossing the stream" album by Lärmschutz & Sergei Tumanov on Poverty Electronics (USA). January 2021. https://povertyelectronics.bandcamp.com/album/crossing-the-stream Tracks 2021.1.31.6.50.26 and 2021.1.31.7.1.56 are based on "Earth: experience" one-track album which was released on NCTMMRN (Australia) in December 2017. https://nctmmrn.bandcamp.com/album/earth-experience Sergei Tumanov - ppooll, field recordings Mixed, mastered and produced by Sergei Tumanov https://sergeitumanov.com https://nctmmrn.com/services Original cover artwork by Denis Sorokin https://www.instagram.com/sorokinguitar https://sorokinguitar.blogspot.com

Sergei Tumanov

PART 1: ISO42 1. Isolation | 6:00 min This track was recorded for a COVID related sound-art project but was never released before the album. 2. Under The Surface | 17:00 min This composition is written as a soundtrack to a video installation (released by UNDER SOUND (Australia) earlier in 2020) and is dedicated to the World of 2020. 3. Birds | 19:00 min This composition is a mix of radio, modular synth and field recordings. The total time of all three tracks of the first part is 42 minutes which represents 42 days lockdown restrictions which were imposed by the Victorian Government Lockdown Plan for Melbourne, Australia. Part 2: ISO35 4. The Sounds Around Me | 35:00 min Following the initial 42 days of lockdown, the local government has assessed the situation and made a decision to extend lockdown indefinitely until critical data statistics did not show that it is safe for the lockdown to be lifted. The idea behind this work is to demonstrate the sounds associated with the curfew (9 PM - 5 AM) which took place during the extended lockdown in response to the second wave of COVID-19 in Victoria State. Part 3: OUT35 5. The Sounds Around | 35:00 min This track contains 35 minutes of a field recording made at the same spot with the previous recordings. --- ISO stands for Isolation and comes from Australian speakers’ tendency to abbreviate certain words, with such abbreviations then becoming a common speech (e.g. Macca’s to mean McDonald’s, iso to mean isolation). Melbourne metropolitan and the state of Victoria exited the lockdown on 27 October, Victoria recorded its 28th consecutive day of 0 new cases and 0 deaths, and had 0 active cases, epidemiologically eliminating the virus. Duration of lockdown in Melbourne and in Victoria was 112 days, from 9 July 2020 - 28 October 2020. The album conceptually represents this lockdown period of 112 days by having a duration of 112 minutes.

Studio Of Electroacoustic Improvisation

This audio performance has a three-part structure. The basis of F10ML (for 10 minutes longer) is an experiment with room's acoustics and random sounds, the influence of field recordings on the subsequent formation of an improvisational canvas. Musicians generate sound tissue based on the 10 minutes that were recorder earlier in the same room. Thus, the pre-recorded period dictates the form of subsequent improvisation. The final part is a direct recording of linear signals coming from each of the musicians, bypassing the reverberation of the room and other environmental influences - it is a layer hidden from hearing, manifested in the last ten minutes of the performance.