Interbeings unfolds as a living trace of coexistence: a permeable sonic ecosystem where listening becomes an experience of connection, crossing perceptual, physical and inner layers. These intertwine with interactions with the artworks through contact microphones, and with the flugelhorn as a center of presence and listening.
Generating a flow that retains a sense of dynamic improvisation
Entering through the garden, the atmosphere somehow shares electronica with nature, a tribal fellowship with a touch of brass (trumpet) and I think I hear a grumpy wild animal in there. This is not a natural sound, this is emerging shadows and powerful stories, the horns are a bridge between earthly and divine realms, and perhaps the garden’s birds represent the earth.
Interbeings unfolds as a living trace of coexistence: a permeable sonic ecosystem where listening becomes an experience of connection, crossing perceptual, physical and inner layers. These intertwine with interactions with the artworks through contact microphones, and with the flugelhorn as a center of presence and listening. The work takes shape through field recordings collected within the residency spaces—including its inhabitants—and at the Ferme du Parc Maximilien in Brussels. The material was recorded during the exhibition opening, with additional sessions afterwards. The materials are not hierarchically organized, but allowed to enter into relation: surface vibrations, environment, voices, the breath of the instrument and electronic processing influence each other, generating a flow that retains a sense of dynamic improvisation. The result is a hybrid sonic matter in which opposing dimensions—organic and artificial, bodily and synthetic—coexist without resolution.
Our new world begins. “Primordial Ordito Under a Cerulean Sky” (3:44) I hear birds and the orchestra awakens, long tones and a growling monster, rattles and shaking sustain the tension, a brass horn emerges and calls. The feeling is auspicious, the cosmos is interconnected, assigning spiritual significance to the natural elements. Next, smooth dry hissing and clicking, rattles shake, soon the horns reappear and continue with their calls. The feeling overall is quiet and still, “The Reptile Dream Passage” (8:00) could take place somewhere deep in the swampy jungle, things are hiding in the overgrowth, I hear seance-like dronesystems, the natural voices probably would tell us that the revelations will emerge from the mist. Insects and other creatures of the night bring is into the next track, I hear quiet water somewhere, horn, odd percussion (metal being tapped), recordings of birds, rattles, whistles, synth, various exotic hand percussion instruments, twitching, with a growling robot at the ending, everything I like! “Cagnara Bloom in Red Herba” (5:39) The dreamy horns provide the message, I think something is playing backwards too. Now the tribe is here, the sound of people tapping and talking and laughing, a group of people happily improvising together. I hear a strange bird-like thing at a distance, or maybe a bunch of them.
As the dream continues ::
Starting with clear calm water, building tension, adding some heat, trying just to make a little broth. “What’s Left of the Brodino” (9:30) I hear complicated strange sounds, as if we were inside a cave, those echos, the water feeling, tapping on stuff, big noises. As the dream continues, I remember to take a long view, find a pattern, sometimes one starts then gone.
Maybe something plastic is being stressed, crunching and grinding just enough, “Permeable Dream Bumper” (5:30) synth drones and electronic distortions follow, someone is vocalizing etherically, nice and slow down here in the cave. There is a proportional distance to include, the flute is back with the whistling shrimp who tell their side of the story this time. At times the tribe is making mouth sounds, the brass instruments calls, buzzes, gets frenetic.
To conclude this journey, prepare yourself for “Snails Under Harvest Light” (7:59), this is the wildest one in the program tonight, the first moments keep time suspended, the echo keeps us in the dark pondering. The feeling is rather serious in mood, with tribe members shape-shifting to make animal noises. Once I heard the sounds made when snails slide on their own juices.
Interbeings emerged from a process developed during the homonymous artist residency at LaVallée (Brussels), centered on anthropocentrism and the Anthropocene: a reflection on the role of the human and on artistic practices where human and non-human, living and non-living, co-produce forms, gestures and imaginaries.
Composed, recorded and performed by Edmondo Riccardo Annoni. Primarily recorded during the Interbeings residency at LaVallée, Brussels, with additional recordings in Turin, 2025; With special thanks to the artists in residence: Alessio Bogani, Nina Ćeranić, Manuela Kokanović, Stefano Moras, Giovanni Munari, Sebastiano Pallavisini. Track 6 includes recordings made in Milan with “Rinascere nel Suono.”
Released August 28, 2026
Mastered by Andrea Porcu.
Cover artwork by Martina Civardi.
Edmondo Riccardo Annoni is an Italian musician, sound healer, and filmmaker based in Turin who works as an ambient and composition producer, sound designer, trumpet player, and visual/film director. He earned a diploma in Sound Healing in Milan in 2021, which heavily influences his meditative, synesthetic musical style. His hybrid musical output blends drone, analog and digital electronics, field recordings, and spiritual instruments like Tibetan singing bowls, trumpet, and the shruti box. He has composed soundtracks for short films and documentaries (such as Il Limite), the TV series Ninna Nanne ai Tempi della Guerra on TV2000, and tracks featured on Netflix.
Interbeings is available on Shimmering Moods. [Bandcamp]
