Wednesday 6 April 2022, 8pm
London based record label, SA Recordings, celebrate their 3rd birthday this year. To celebrate they've pulled together some friends of the label for a night of performances at OTO.
Longstanding figures in New York City experimental music scene - both noted for pushing electroacoustic music into highly individualised realms - Ben Vida and Lea Bertucci began collaborating during the Summer of 2021, while living on opposite sides of the same mountain outside of Woodstock, NY. This April, they deliver “Murmurations”, their first release as a duo, incorporating live tape manipulation, modular synthesis, sampling, and real-time instrumental and vocal improvisation, into a joyous tapestry of playful, boundary blurring sound.
Flora Yin-Wong is an artist, writer and DJ who uses rudimentary field recordings, granular synthesis, and traditional instruments, underpinned by influences from club culture. Through these disparate elements, her work channels her interest in philosophical and psychological themes such as faith, obsession, and ritual. She has been commissioned by and presented live at institutions like Palais de Tokyo in Paris, MACRO Roma, Fondation Beyeler Basel, Triennale Milano, Somerset House, The V&A, ISSUE Project Room New York, Volksbuhne Berlin, ATONAL, Unsound and MUTEK Festival to clubs like Berghain, fabric and Printworks. Her music has been released on labels like Modern Love, PAN, Shelter Press, Tectonic, and Nyege Nyege etc. In early 2023 she launched a label and publishing house, Doyenne, and was commissioned by Parisian sound institute INA GRM on a soundpiece designed for their 48 channel speaker system released as a split LP. In 2026/7 she'll release her new EPs with Nick Klein on Room40 and a new moniker Lily of the Valley on YYAA.
Concepción Huerta is a Mexican multidisciplinary artist working across sound, visual media, installation and performance. Based between Amsterdam and Mexico City, her practice brings together field recording, synthesis, tape manipulation, spatial composition and audiovisual forms, treating sound as a physical, narrative and political material. Emerging from photography and moving image, Huerta has become a key voice in Mexico’s experimental sound circuit, with work that sits between ambient, noise, drone and musique concrète while remaining rooted in questions of memory, place, silence, violence and embodied listening.
Her recordings often unfold like unstable terrains: dense, tactile environments where foley, electronics, processed tape and acoustic resonance become carriers of emotional and historical pressure. Alongside her solo work, Huerta is also part of the Mexico City ensemble Amor Muere with Mabe Fratti, Camille Mandoki and Gibrana Cervantes, a project praised for its collective approach to freeform chamber improvisation, electronics and voice. Her recent 2025 solo album El Sol de los Muertos, released on Umor Rex, is one of her most forceful statements to date: a subharmonic, tape-scarred work that draws on volcanic imagery, the open veins of Latin America, colonial memory and the subterranean force of histories that refuse to stay buried.
