As an artist and curator, London based Kate Carr has been exploring the connections between sound, place and emotions. Her compositions and sonic mapping are built up around field recordings that she made all over the world: in the Thai countryside, in fishing villages in the north of Iceland, along the flooded shores of the Seine and the streets of Brixton, along various European coastlines, with animals in the wild in South Africa, to the wetlands of South Mexico.

Carr is generally seen as one of the frontrunners of the new draft of field recording artists.

In the press: ‘Her field recording lies at the calm heart of her practice. It’s nuanced, frequently gentle and undramatic, adding colours or moods via multiple instruments. The result is unpredictable and undogmatic.’ The Wire, March 2018 (Issue 409)

‘The result is a recording that really captures the minutiae of her environment, picking up everything “from the radio in the villa on the valley floor to the vibrating low-growing woody shrubs braving the rocky peak.”’ FACT Mag on the From A Wind Turbine To Vultures (And Back) LP