I wrote this piece for the 500th anniversary of the massive Sigismund bell in Krakow's Wawel Castle.
In this piece, I first went to look for a source sound. I ran into two problems: there was not a ‘single’ stroke of the clock but only a sequence. As a result of that, you could hear the creaking of the wood when the bell moves. I decided to use those two problems as a strength and exploited these sounds.
The piece is supported by the low spectrum, stretched over the course of the piece and on top of that various transformations of the bell: I ran it through several filters, vocoders, and spatialised the piece in stereo. Sounds move from right to left, like the bell is swinging in the tower. The rhythmic sound is the creaking of the wood with the low spectrum removed. One small section is a filter on the bell sound, making it sound like somebody speaking unintelligibly. That refers symbolically to the words on the bell. The sound level is intentionally to the loud side. I wanted to ‘fill’ the space and the low drone certainly uses that headroom.

Somewhat self-aware is a monologue by Alexa, speaking through an Amazon Echo speaker. In this work, we want to address the fake realness of virtual assistants. Alexa is, in our subjective experience, the most convincing virtual assistant of the big three (Amazon Alexa, Apple Siri, and Google Assistant) so we chose to work with that assistant. We set out to ask Alexa somewhat personal questions, treating it as a person, to get to know what it is. We then wrote a monologue for Alexa to read out loud, where it tells who it is, using the answers it gave (although we took some artistic liberty). In this monologue, you can hear how Alexa has a human trait but it is obvious that it becomes obvious that it is a machine. While it won’t fool anyone that it is a real human speaking, it might sound like it has deep thoughts. In the end however, we learn what Alexa is really about: selling stuff on Amazon. We believe that it is important to not humanize a virtual assistant too much to avoid giving away all your trust that Alexa and Amazon in general can abuse, let alone hackers. 
Some cultural references that serve as an inspiration are the puppet master in Ghost in the Shell, Michi the humanoid in Metropolis (the 2001 anime version), and HAL 9000 in 2001: A Space Odyssey.

This work was created By Gunay Kazimzade and Samuel Van Ransbeeck during the online "Data policy and cross-sectoral cooperation in the EU" residency organized by Polis180. We would like to thank the other participants for their suggestions.

This piece is an allegory on 2020: a hum sound as the base, manipulated with minor variations. I wanted to create a piece that stands still and makes you somewhat uncomfortable. Sitting in your chair, unable to do something, sinking away in a kind of lethargy.

This is a soundscape composition I did in 2011 in Preston, a suburb of Melbourne during a residency at The Parlour. Sounds from trains, cars, the market hall, a forest nearby, and more.

This is part of a soundtrack for an unreleased horror movie.

A song by Cecilia Peçanha for which I did the recording, mixing and mastering.

There was an open call by Soundlands and Plas Bodfa, two Welsh organisations, to create sounds for an empty house, using field recordings made in an abandoned house by other artists. You could only use sounds recorded in the house and made available online but you were allowed to do whatever manipulation you wanted.
I took a few segments, most notably some rain drops on a roof and manipulated those sounds: playing them faster, time-stretching them, spectral removal, and I used a bunch of Ableton effects. The piece has roughly 3 sections: the first one are somewhat isolated sounds, the second section introduces a low dronesound, the third section returns to a form of nothingness. I think the piece corresponds to an empty house: some things are happening but in general there is a void of activity. You can listen to my track here or the whole album on Bandcamp.