Boutique electronics company ALM/Busy Circuits have collaborated with London grime/dubstep head Mumdance on a new Eurorack low pass filter for use in modular synthesizers. Based on the filter design found in the Akai S950, the 12-bit sampler famed for its use in early jungle and hardcore, it has been christened the MUM M8.

“The low pass filter gives the recognisable super-smooth vacuum-like tone sucking sound which works magic on complex sources,” explains Matthew Allum of Busy Circuits. “The addition of clipped overdrive and intentionally aggressive self oscillating resonance complement the smooth filter core by juxtaposing it into more wasp like territory with acidic squeals and a more gritty sound.” In other words, it has some of the same character of the S950, whose brutal filtering of Amen breaks can be heard across many drum ’n’ bass classics.

The motivation for the module came from discussing filters in classic samplers with Mumdance, aka Jack Adams. “Jack provided inspiration, help and feedback in the development of the filter,” says Allum. “Big up Mumdance.”

It’s on sale now for £179 via Rubadub in Glasgow, Control in NYC, and Perfect Circuit in LA.

Lambda Pi is a new film about the pioneering Greek electronic musician Lena Platonos. Directed by Cristo Petrou, the film looks back at Platonos's works from the mid-1980s including Sun Masks, Gallop and Lepidoptera, the latter two of which were recently reissued by US label Dark Entries, and features interviews with the composer, who is still active today. Music by Platonos makes up the soundtrack alongside remixes by Red Axes and Lena Willikens and unreleased music by Natureboy Flako, Coti K and others. It also features a previously lost demo for Platonos track “Mistaken Love”, discovered while the film makers were researching for the film.

“I've know Lena since my childhood through her participation in Lilipoupoli, a children’s radio show of the 80s,” explains the film's producer Giorgos Karnavas. “Her music was almost in every Greek house by then. I met her again in my twenties when her electronic albums were like the holy grail of the alternative listeners in Greece.” Karnavas previously themed the 2006 edition of the Athens festival Synch on around Platonos and her work. “Two years ago Cristo Petrou, a good friend, came to me with the idea of making a film about Lena and her music and we embarked immediately... Step by step things evolved, we found all her past collaborators back in the 80s and I think we managed to make an 80s visual styled film which is very Greek but also very international and which of course has some great music.”

The team behind the production are now looking to crowdfund the final stages with money going towards clearing music rights and post-production. Donors can bid for items such as T-shirts, reissue LPs, a copy of the documentary and collectables such as the film’s soundtrack with previously unreleased tracks or a copy of the test pressing vinyl. The campaign ends on 20 December. More information can be found at indiegogo.com.

The film premieres at the Onassis Foundation Cultural Center in Athens on 18 December which will also feature Lena Platonos performing on stage with Philip Jeck, plus DJ support from Josh Cheon of Dark Entries.

You can watch a preview of the film below.

As part of Season of Sound, the British Library presents Selector Responder: Sounding Out The Archives on 8 December. The evening will look at some of the ethical issues involved in archiving sound, says the event’s curator Ella Finer. “Who gets to respond to sounds in the archive: the politics of access to collections housed in institutions, and how strangely sound is a subject in this,” she continues. Ella is the daughter of Jem Finer, and is the trustee to his work Longplayer, recently archived at Goldsmiths Univeristy. The process, Ella says, “was the provocation for the event at the British Library, considering the near impossible methods of archiving the continuous, the longplaying, the ephemeral”.

Sounding Out The Archives will feature audio alongside responses from Noah Angell on Connie B Steadman’s collection of The Badgett Sisters; Larry Achiampong on West African recordings from the archive; James Bulley on the Daphne Oram Archive; Ben Elliott on wildlife and environmental sounds; Marysia Lewandowska on the Women's Audio Archive; Ego Ahaiwe Sowinski on Lambeth Women’s Project Archive; Flora Pitrolo on the New Spectacularity Sound Archive; Holly Pester on the audio poetry of Henri Chopin; plus The Wire contributors Nina Power on the Her Noise Archive and David Toop on the BBC Sound Archive of the early 1970s.

Selector Responder: Sounding out the Archives will take place on 8 December, starting at 7pm. Listen to the Badgett Sisters below

To celebrate his 60th birthday, Wolfgang Müller has edited a series of essays and reviews about his 1980s West Berlin group Die Tödliche Doris. Called Die Tödliche Doris – Performance, the bilingual book surveys the performative output of the group he formed with Nikolaus Utermöhlen in 1980 up until their final break-up in 1990. The volume also contains two DVDs featuring 31 films Die Tödliche Doris made in their lifetime, freshly edited by Ming Won and Müller himself under the supervision of An Paenhuysen in Ulf Wrede’s studio. These include rare Die Tödliche Doris footage such as their performance Homage To Allan Jones at The Kitchen, New York.

Also included is the video to Chöre Und Soli (1984) in which the faces of Die Tödliche Doris members were projected onto the group in super-8 film format. “Not only the performance visible on the tapes,” remarks Müller, “but also the process of the editing of the videos itself is a performative procedure, and thus a performance [...] For Die Tödliche Doris, the concept performance contains various processes of materialisation, of metamorphose, and of interactions between individuals, media, and different time frames.”

The book is published by Hybriden-Verlag in an edition of 100 copies and includes a signed original drawing by Müller. It costs €99 and can by ordered by email: kosmonaut@alice-dsl.de. It is also available via Tochnit Aleph.

Faber has announced the publication of a book of Scott Walker lyrics. Called Sundog: Selected Lyrics, it’s overseen by Walker himself and it includes an introduction by writer Eimear McBride. “Walker’s work, as Joyce’s before it, is a complex synaesthesia of thought, feeling, the doings of the physical world and the weight of foreign objects slowly ground together down into diamond,” writes McBride. “This is not art for the passive. It does not impart comfort or ease. Tempests will not be reconciled by the final bars and no one is going home any more.”

This first ever collection of Walker’s words is divided into six sections: “The 60s”, “Tilt”, “The Drift”, “Bish Bosch”, “Soused” and “New Songs”. It will be published on 11 January in three editions: deluxe (limited to 100 copies), limited (300 copies) and standard. Pre-orders go on sale from 15 December. More details about the contents of the various editions can be found at Scott Walker's website.

Akio Suzuki's self built listening point Hinatabokko No Kukan or Space In The Sun (1988 – 2017) was demolished on 8 November. Built just under 30 years ago on a hilltop in Kyotango city in the Tango region outside of Kyoto, the piece comprised a brick floor and two brick walls, creating a space in which to listen to the area it inhabited. It took 18 months to complete the structure with Suzuki working alongside his then-wife Junko Wada and others, and consisted of 10,000 handmade earthen bricks. He has envisioned the work to deteriorate naturally over time, however recent disputes with the local cattle farm and it's employees had questioned the safety of the construction due to recent deterioration and typhoon damage. However, a collaborator of Suzuki, Aki Onda, tells us there had been no clear evidence that the structure was dangerous and that it has been demolished in less than 24 hours of the decision being made.

Space In The Sun, Suzuki says, was inspired by Debussy’s La Mer. “I thought Debussy was sitting in front of the sea for a day,” he explains, “but I had never done such things before. I never used time like that before.”

On completion, Suzuki spent the best part of 23 September 1988 making use of Space In The Sun. He recalls, “I acquired through this bodily experience, the skill to become one with nature, like the trees that surrounded me.”

“Although in recent years Space In The Sun has been in disrepair, the piece existed for sonic pilgrims who wanted a space for their own listening”, explains writer Chris Kennedy. “While the end product was fascinating—the idea of sitting for a day in one place to listen to the world—the amount of labour that it took to build it was of equal importance in Suzuki’s work. Suzuki’s art is also about the work that he does to get to this place of listening.”

London based US musician Ashley Paul is set to release a new record on Slip next year. Titled Lost In Shadows, the album promises a personal unearthing of the experience of early motherhood, and follows on from previous albums Slow Boat, Line The Clouds and 2014’s Heat Source.

The LP was recorded over three weeks during a residency at FUGA in Zaragoza in Spain in December 2016 – it’s described by Paul as “a cathartic outpouring”, and is the first thing she has written since the birth of her daughter 11 months ago. The record is influenced, she says, by “hours spent awake at night in a dreamlike state of half consciousness, darkness and solitude”.

Paul plays guitar, saxophone, clarinet, voice and percussion on the record, alongside an ensemble of Manel Arocas Roca on tuba, Justo Bagüeste on baritone saxophone, Angela García Marcos and Dolores Miravete on cello, plus Helena Cánovas Parés, Santiago Latorre and John Bence on percussion. Lost In Shadows will be released on LP with download in February 2018, with artwork by Gayle Paul and mastering by Giuseppe Ielasi. Listen to “Night Howl” below:

Film maker and sound designer Chu-Li Shewring has won the £5000 Jules Wright Prize set up to recognise female creative technicians making significant contributions to artist films. As announced last July, other nominees included Beatrice Dillon and Zhe Wu. Shewring worked with Steve McQueen on Hunger in 2008, Frances Scott on CANWEYE { }, Phil Coy, Siobhan Davies, Ben Rivers and others. She is also a visiting sound tutor at University College of London and the National Film and Television School.

Meanwhile, the 2017 Film London Jarman Award of £10,000 was won by Oreet Ashery, who grew up in Jerusalem but now lives in London. Ashery combines moving image, live performance and music. Her projects include her web series Revisiting Genesis, which examines attitudes towards death, and the touring performance Passing Through Metal, which combines knitting and death metal.

Ben Riley died on 18 November at Good Samaritan Hospital in West Islip, New York. “His death was confirmed by his daughter Kim, who said the cause of death is not yet known,” reported the New York jazz radio station WGBO.

Born in Georgia in 1933, Riley moved to New York City as a child. After drumming in bands at school and during time served in the army, he started playing professionally in 1956. He toured and recorded with Thelonious Monk, working on albums such as It's Monk's Time (1964), Monk (1964), Live At The It Club (1964), Straight, No Chaser (1967) and Underground (1968). He went on to play with Alice Coltrane on A Monastic Trio (1968) and Ptah, The El Daoud (1970), and he also drummed with Abdullah Ibrahim aka Dollar Brand, Chet Baker and Sonny Rollins, among other artists. Following Monk's death, Riley joined Sphere, which originally started as a Monk tribute band, working alongside Monk's tenor saxophonist Charlie Rouse and Kenny Barron.

Later in his career Riley released his debut album Weaver Of Dreams (Joken, 1996), and ten years later he led The Monk Legacy Septet through Memories Of T. In 2012 Sunnyside released Riley’s Grown Folks Music.

A new performance venue in Berlin called MONOM is set to open on 1 December. Containing a new spatial sound system built by 4DSOUND, the space has a capacity of 400 and features omnidirectional speakers suspended throughout the venue and subwoofers placed under transparent flooring. It’s located in Funkhaus, the old GDR broadcasting centre. The intention, claims the press release, is that the audience “do not hear sound coming from speakers: instead, sounds appear in the space as independent physical entities”. They aim to use the flexible sound system so that performers and listeners can occupy the same fluid space, and artists will be specially commissioned to create pieces exploring its possibilities and potential to integrate with other technologies.

The opening weekend will take place on 1–2 December with Croatian Amor, Helm, PYUR and Thomas Ankersmit. On 9–10 December MONOM will present an exhibition curated by 4DSOUND’s founder Paul Oomen featuring sound systems made by the company over the course of the last five years. Following that, a world premiere of an installation by longterm collaborator Max Cooper will open on 14 December, with support from Italian artist Caterina Barbieri. Tickets are available via their website.