Lost And Sound

Eli Keszler joins me this week to talk about rethinking sound, space, and what it means to create music in an uncertain world. A lifelong percussionist, Eli’s work has often explored the edges of rhythm and texture—dismantling traditional approaches and rebuilding them into something uniquely his own. Eli isn’t just a percussionist who produces great albums though. A visual arist and a creative mentor who has collaborated with everyone from Oneohtrix Point Never to Laurel Halo to Skrillex. We talk about how his relationship with the studio has shifted over time, how working in film has expanded his compositional approach, and how speed and density in performance can create a strange kind of stillness. His new self-titled album on LuckyMe marks his eleventh solo release and reflects years of process, reflection, and experimentation.The conversation also opens out into something I‘m currently really interested in asking artists‘ opinions on: how the function of music itself is changing. As digital culture reshapes how we interact, consume, and listen, Eli reflects on the possibility that music might be returning to something more spiritual, more tactile—more connected to personal and communal practice than product. We talk about the idea of a “humanist retreat” from the frictionlessness of tech, and how creative work might serve as a space to resist or reimagine that drift.Listen to Eli Keszler’s music:BandcampListen to Eli Keszler (2024):BandcampFollow Eli Keszler on Instagram: @eli_keszlerIf you enjoy Lost and Sound and want to help keep it thriving, the best way to support is simple: subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps others find the show. You can do that here on Apple Podcasts or wherever you like to listen.Lost and Sound is sponsored by Audio-Technica – makers of beautifully engineered audio gear. Check them out here: Audio-TechnicaWant to go deeper? Grab a copy of my book Coming To Berlin, a journey through the city’s creative underground, via Velocity Press.And if you’re curious about Cold War-era subversion, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

What began with nothing more than a four-track recorder, a couple of "crappy mics," and a friendship forged over Erik Satie records at university parties led to the quietly seminal influence Stars Of The Lid have had over ambient, modern composition and drone music over the past four decades. I spoke with Adam Wiltzie – one half of the project (the other, Brian McBride sadly passed away in 2023).Against the backdrop of 1990s Austin – a city dominated by rock and country music – Stars of the Lid emerged with something radically different. Their debut album "Music for Nitrous Oxide" quietly initiated a revolution, pushing against what Adam describes as the prevailing white boy funk and laying groundwork for what would become a seminal force in ambient and modern composition. Now celebrating its 30th anniversary with a remastered release, Wiltzie reflects on those early creative days with the late Brian McBride and the unexpected longevity of their collaborative vision.Wiltzie is so disarmingly unpretentious I almost gulped at one point. "I am definitely my own worst critic and I still love getting bad reviews," he confesses with surprising candor. This willingness to embrace imperfection has fueled a four-decade career spent continually moving forward rather than getting stuck in pursuit of perfection – a lesson valuable for creators in any medium.Most poignantly, Wiltzie shares how Brian McBride's passing inspired this anniversary project, bringing memories of their formative creative partnership back to the surface. The reissue serves not as nostalgic celebration but as a "time capsule" documenting how two university students with minimal equipment created atmospheric soundscapes that seaped their way into the water influencing generations of musicians working at the intersection of ambient, drone, and modern classical composition.Listen to Stars of the Lid’s music:BandcampListen to Music for Nitrous Oxide (30-Year Anniversary Remastered): BandcampFollow Adam Wiltzie on Instagram: @adamwiltzieIf you enjoy Lost and Sound and want to help keep it thriving, the best way to support is simple: subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps others find the show. You can do that here on Apple Podcasts, Spotify, or wherever you like to listen.Thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. Check them out here: Audio-TechnicaIf you’re looking for summer read and you’ve not read it yet, check out my book Coming To Berlin, a journey through the city’s creative underground, via Velocity Press.And if you like tales of punks outwitting the establishment, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

How do you make an album through personal upheaval? I spoke with rRoxymore about the process of making her third album "Juggling Dualities" – a work born from the ashes of emotional upheaval and creative block. When we sat down together, the genre-blurring producer opened up with remarkable candour about finding her way back to music through surrender rather than force."I couldn't produce any track of music that was satisfying for my standards," rRoxymore aka Hermione Frank confessed, describing the frustration that preceded her creative breakthrough. The turning point came when she abandoned expectations entirely – no planned album, no pressure to deliver a product, just pure exploration. What emerged was something she considers her most honest work, created in a surprisingly short timeframe with an authenticity that surprised even herself.The conversation ventured beyond the album into rRoxymore‘s journey as an artist – from her early days in France feeling constrained by rigid genre expectations, to finding freedom in Berlin's electronic music scene, to her recent move to a smaller city where she's embracing a slower rhythm of life. Throughout it all, she's maintained a fluid relationship with genre, using it as "a reference point that you'll avoid to go to" rather than a rigid framework to follow.Perhaps most striking was her deliberate disconnection from digital noise during this period of creation. "I deleted all the socials for a while," she shared, emphasizing the importance of asking fundamental questions: "What do I want? Who am I?" This return to essentials allowed her to follow her natural rhythm – a practice she describes as "maybe financially not as rewarding, but it's so satisfying."Listen to rRoxymore’s music: Bandcamp Artist Page – rRoxymore Listen to Juggling Dualities (pre-order available):Bandcamp – Juggling Dualities Follow rRoxymore on Instagram: @rroxymore If you enjoy Lost and Sound and want to help keep it thriving, the best way to support is simple: subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps others find the show. You can do that here on Apple Podcasts, Spotify, or wherever you like to listen.Thanks also to this episode’s sponsor, Audio-Technica – makers of beautifully engineered audio gear. Check them out here: Audio-TechnicaWant to go deeper? Grab a copy of my book Coming To Berlin, a journey through the city’s creative underground, via Velocity Press.And if you’re curious about Cold War-era subversion, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

Richard Fearless is a true lifer. The DJ, producer and Death In Vegas founder sits down with Paul to reflect on 30 years of musical evolution that has taken him from the hugely influential Heavenly Social to Mercury Prize nominations, a top ten hit about a serial killer sung by Iggy Pop to his current creative renaissance, working free from industry bullshit and producing his best work in years,Growing up in remote Zambia with music-loving parents, Fearless recalls connecting with music at an early age. His path would lead through the emerging London techno scene of the late '80s and '90s, where he cut his teeth as a resident DJ alongside contemporaries like Andrew Weatherall and The Chemical Brothers before launching Death in Vegas. The conversation reveals a pivotal moment when commercial success led to a crossroads rather than continued mainstream pursuit.What emerges is the portrait of an artist who deliberately stepped away from major labels, management, and industry expectations to craft a more authentic sonic identity. His riverside studio "The Metal Box" becomes central to this narrative – an analog sanctuary where tape machines, field recordings, and environmental sounds combine to create the stripped-back, trance-inducing techno of his current work. "I make my best music when I'm digging deep within myself," he explains.Perhaps most compelling is Fearless's admission that he feels more proud of his recent, independent work than the commercial hits that brought him fame. His collaborative ventures with friend of Lost and Sound Daniel Avery and new dub-inspired night "Holy" demonstrate an artist still pushing boundaries rather than retreating into nostalgia. "I feel as excited about DJing as I was when I was 20," he confesses, signaling that artistic liberation has reinvigorated his passion.Death Mask by Death In Vegas is out now. Listen on  BandcampFollow Death In Vegas on Instagram:  @deathinvegasmusicIf you enjoy Lost and Sound, I’ve got a little favour to ask: please subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps others find the show. You can do that here on Apple Podcasts, Spotify, or wherever you like to listen.Huge thanks to Lost and Sound’s sponsor, Audio-Technica – makers of vcry fine engineered audio gear. Check them out here: Audio-TechnicaWant to go deeper? Grab a copy of my book Coming To Berlin, a journey through the city’s creative underground, via Velocity Press.And if you’re curious about Cold War-era subversion, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up

Lyra Pramuk is a vocalist, composer, and producer known for her thoughtful exploration of queerness and experimental sound. In a fascinating conversation, she discusses the bold themes of her new album 'Hymnal,' which navigates dissonance, grief, and beauty. Collaboration takes center stage, from working with the Sonar Quartet to the unexpected influence of a slime mold in shaping her music. Lyra reflects on the power of technology as an extension of our bodies and the transformative potential of merging electronic and classical elements in art.

Bradley Zero simply has that rare fusion of global success and grassroots authenticity. From humble beginnings as a teenage bar back in Leeds to becoming the founder of Rhythm Section International, what makes Bradley's approach so refreshing is his unwavering commitment to community. During our conversation, he reveals how finding his tribe in Peckham transformed his understanding of creative collaboration. "I was part of something," he reflects. "It wasn't networking... it was people somehow congregating around a small geographical area with an insane amount of creative energy." This foundation informs everything he touches – from his NTS radio show to Jumbi, his one-turntable hi-fi bar that draws inspiration from Jamaican sound systems and David Mancuso's legendary loft parties.The pandemic proved pivotal for Bradley, creating space for reflection on his role within the industry, leading him to launching Future Proof – a mentorship initiative aimed at demystifying the often secretive workings of the music industry. His observations about discovering the lack of diversity at upper industry levels led to this mission of opening doors and creating change "one step at a time."If you’ve ever danced to one of his sets or tuned in to his NTS show, you’ll know that Bradley's musical philosophy defies easy categorization, embracing everything from jazz and broken beat to minimal techno and 90s piano house. Add to this rock solid DIY ethics, where "balancing micro and macro," help him keep check in on where he‘s at, helping him in nurturing local scenes while thinking globally.Whether discussing the challenges of festival versus club DJing or offering wisdom to his younger self about enjoying the journey, I loved having this chat.Follow Bradley Zero on Instagram  @bradley_zeroExplore Future Proof, his emerging‑artist mentorship programme at Rhythm Section: Future Proof If you enjoy Lost and Sound and want to help keep it thriving, the best way to support is simple: subscribe, leave a rating, and write a quick review on your favourite podcast platform. It really helps others find the show. You can do that here on Apple Podcasts, Spotify, or wherever you listen.Lost and Sound is sponsored by those good people at Audio‑Technica – check them out here: Audio‑TechnicaIt’s that time of the year where if you‘re looking for a beach read about Berlin and you‘ve not done so already, grab a copy of Coming To Berlin, my journey through the city’s creative underground, via Velocity Press.And if you’re curious about Cold War‑era subversion, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.You can also follow me on Instagram at @paulhanford for behind‑the‑scenes bits, guest updates, and whatever else is bubbling up

Nicola Cruz, an Ecuadorian producer and DJ, is reshaping South American electronic music with his transcendental sounds. In this conversation, he shares his unique approach to DJing, focusing on connecting with individual audience members rather than the crowd as a whole. He discusses his field recording adventures, capturing sounds from glaciers and underwater environments, and how these influences shape his music. Cruz emphasizes the importance of creative freedom, unlearning traditional norms, and the interplay between sound and nature in his innovative work.

Cristobal Tapia de Veer on instinct, tension, and walking away from The White LotusIt‘s not often I have a guest on the show primarily known for scorring for screen but the outspoken, punk-rock ethosed, voice-warping composer Cristobal Tapia de Veer is so Lost and Sound it hurts. Whether it’s the unnerving soundworld of Utopia, the chaotic beauty of The White Lotus, or the warped voices of A24‘s Babygirl, his scores don’t just sit behind the picture—they shape how you feel it.In this conversation, we talk about how some of his most striking ideas come in a flash. How one of The White Lotus‘ most memoral earworms: “took me the time it takes you to listen to it,” he says. “I feel like somebody else did it for me.”We get into why scoring the show felt like “trying on a yellow dress,” and how stepping into unfamiliar territory let him bring something raw and unexpected to it. He’s honest about how uncomfortable that space was—and how that discomfort helped him land something sharper.Cristobal opens up about working in an industry that often pulls in the opposite direction of intuition. We talk about trusting the subconscious, letting go of control, and how stepping back sometimes allows something better to come through.We also touch on his recent public split from The White Lotus—and the bigger questions that come when creativity and power don’t align.If you’re interested in how a politically minded Iggy Pop fan became one of the most highly revered film and TV composers working right now, or just curious about what it takes to stay true to your instincts inside a system that often doesn’t want you to, this one’s worth your time.If you’re enjoying Lost and Sound, please do subscribe and leave a rating or review on Apple, Spotify, Amazon, or wherever you listen. It really helps to spread the word and support Lost and Sound.Cristobal Tapia de Veer on Instagram Cristobal Tapia de Veer on Apple Music and TIDAL.Follow me on Instagram at PaulhanfordLost and Sound is sponsored by Audio-TechnicaMy BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.My book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

The boundary between imagination and technology blurs in Lila Tirando a Violeta's mesmerizing sonic experiments. From her early DIY noise experiments in Uruguay to her current position as one of electronic music's most distinctive emerging voices, Lila's creativity has flourished despite—or perhaps because of—the challenges of living with a chronic condition.When health issues confined her to hospitals and home at age 23, Lila found herself transitioning from improvisational performance to structured composition. The internet became both her music school and lifeline, leading to collaborations with artists like Loraine James and Amnesia Scanner—relationships that began digitally before materializing in the physical world. This digital-first approach mirrors the themes in her work, particularly her fascination with David Cronenberg's Videodrome, which she references in her new album "Dream of Snakes."What makes Lila's creative process so compelling is her transformation of limitation into innovation. She samples her own pulsating tinnitus, captures field recordings from hospital rooms, and builds intricate sonic collages without formal training. Though her aesthetic suggests urban futurism, she's found her creative sanctuary in the quiet Irish countryside, where nature and technology intertwine in unexpected ways.Most striking is Lila's openness about navigating the music industry—from including special lighting requests in her rider to dealing with international promoters who expect her to play reggaeton simply because of her South American heritage.If you’re enjoying Lost and Sound, please do subscribe and leave a rating or review on Apple, Spotify, Amazon, or wherever you listen. It really helps to spread the word and support Lost and Sound.Lila Tirando a Violeta on Instagram Listen/Buy Dream Of Snakes hereFollow me on Instagram at PaulhanfordLost and Sound is sponsored by Audio-TechnicaMy BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.My book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins

Bartees Strange makes music that doesn’t sit still. One moment it’s soaring indie rock, the next it’s touched by soul, punk energy, or the weight of hip-hop—yet it all holds together in a way that feels completely his own. We sat down in a quiet Berlin hotel room to talk about the creative process behind his new album Horror, produced by Jack Antonoff and released on the iconic 4AD label.Bartees doesn’t approach songwriting as a straight path. It’s more like piecing together different fragments until something unexpected clicks. “I might write five or six sections and not know they’re in the same song until I start plugging them into each other,” he said. That instinctive method pulls influence from across the board—Fleetwood Mac, Parliament, Burial, Neil Young—and filters it through a sound that’s urgent, intimate, and ever-shifting.What stood out most in our conversation was his view on genre itself. For Bartees, it’s not just about music—it’s about identity, and how people are often encouraged to box themselves in. “Music is representative of people,” he told me. “And people separate themselves from each other because of all these things that don’t make sense. Through music, I can show people that all those things you thought were unique to you are also unique to them.” His work holds a quiet defiance, a kind of gentle political energy that moves through emotion rather than statement.Before committing to music full-time, Bartees worked as deputy press secretary at the FCC under Obama. That experience brings a clear-eyed perspective to his writing—but it was never about strategy. “I tried not to do it. I got a job, I worked… but after a while, I was like I’d rather just not survive than not do what I want to do.” That sense of risk and necessity lives in every note.If you’re enjoying Lost and Sound, please do subscribe and leave a rating or review on Apple, Spotify, Amazon, or wherever you listen. It really helps to spread the word and support Lost and Sound.Bartees Strange on Instagram Listen/Buy Horror by Bartees Strange hereFollow me on Instagram at PaulhanfordLost and Sound is sponsored by Audio-TechnicaMy BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.My book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Lost and Sound title music by Thomas Giddins