HERETIK, 2022 ( coming soon)

To be premiered at Sonica Festival, 2022 at Tramway Glasgow.

HERETIK, 2022 ( coming soon)

To be premiered at Sonica Festival, 2022 at Tramway Glasgow.


 In Mysteries of the Unseen, I explore the interrelation between myth and reality through an archeological excavation of a speculative world. This work questions the objectivity of any storyteller, through exploring a sound-led exercise in speculative fiction. I devised music for a “non-human” civilisation, experimenting with how this might sound, having no connection to the vast landscape of human musical history. I then explore whether this music alone might reveal other aspects of this society. Their philosophies? Art? Spirituality? Food?

 I explored this through hypnosis, inducing a deep state of relaxation with participants, and allowing them to fill in the blanks with their subconscious, creating a form of communal hallucination. These are presented in the installation through paintings, drawings, sculptures, augmented reality, and prints.

Pookmis: Wild Man of the Sea, 2021 (sound designer)

Working on the music for ‘Pookmis: Wild Man of the Sea,’ I drew from Takashi Kokubo’s Water and various works by Hiroshi Yoshimura . When first playing the game, I was originally taken back to my experiences playing ‘Abzu.’ However, while I enjoyed the mood and soundtrack of that game, composed by Austin Wintory, I felt that this game had a very different identity and needed something much gentler, spacious, but purposeful. I percolated soft loops on a wet piano sound, before building upon layers from other sounds to support the repetitive structure. Listening to music from North American indigenous cultures, I was struck by the percussiveness of their music and how equally rhythm was weighed in proportion to tonality, particularly in practices such as throat singing. Recording myself tapping various items, and layering them with various percussive sounds, I infused the arpeggios with a bold rhythmic identity. 

GLOW, 2021 (sound designer)

"Glow" is a projection mapping project in which I collaborated with two animators from UAL. Inspired by the scenes of a local park and the visually-rich topic of fungus, they began their process with collaboratively drawing online. This resulted in a wonderful myriad of complex and complementary drawings. These drawings were then sent to me, along with photos and ambient sounds from the park. I then created a looped audio incorporating field recordings and synth compositions inspired by their drawings. They then reworked these initial ideas, inspired by my sonic work, into the final animations that would subsequently be projection mapped onto natural scenes at the park. I loved this project for how it required a cyclical and reactionary relationship between all collaborators and the environment., 2020

An audiovisual piece by Veronica Petrukhov (IG: vnc.ptk) and Samm Anga (IG: skinnysammay) is a collaborative project that seeks to question the function of memory in the digital realm. It re-conceptualises the concept of a time capsule by data-moshing a slew of archive footage and 2020 memorabilia into an abstract orb-like vortex. After layers and layers of editing and glitching, once recognisable images transform into webs of light particles oscillating and reverberating in sync.


Crooked C(l)ocks Overture, 2020

This live performance piece exploring themes of desperation in love and the cruel authority of time. The title comes from the line: "Even crooked clocks can't turn back the hands of time.” While mostly in English, the backing vocals periodically fluctuate between Nigerian broken English, Okrika, and Jamaican patois slang, each evoking variations of the protagonist's identity. The conceptual piece explores a story (with visuals loosely inspired by scenes from Paul Coelho’s "The Alchemist") about a young man banished to a rock, left to the tyranny of his demons and hallucinations. He stumbles upon a moon circle fellowship, where he is entranced by a mysterious figure and drowns trying to chase her. In an attempt to save his life, she cuts out his "blood organ" to preserve his soul.The musical style of the piece is heavily inspired by the poignant mix of sparse vocals, strings and electronic percussiveness on Björk’s collaborative work with Arca, namely on "Vulnicura" and "Utopia." The frank simplicity of the lyrics is also a stylistic nod to Björk, while the percussive piano style pays homage to Thelonious Monk. This eclectic body of work relishes sampling with a childlike ferocity, drawing explicit sonic memories from Anga's past, from operatic arias, to jazz, to experimental drill music. A Wagnerian aria floats over Curtis Mayfield drum loops; a blaring sax soloing over Charles Mingus flutters over Debussy's "Claire de Lune," scattered by fills from Yussef Dayes' drums. The collaboration of image and sound is sure to take you on a journey.Edited and produced by Samm AngaVJ work by vnc.ptk and flcat


This musical segment for Agora explores the concept of body scanning. A body scan meditation brings attention to the different areas of the body, from the crown of the head to the soles of the feet. The words in this piece attempt to map the memory of a person within different spaces of the body, evoking the emotive quality of each of the senses. The music borrows from the slow, meditative sound of spiritual practice, but juxtaposes it with irregular and disruptive kick and snare patterns to coincide with the unrest of the vocals. The video distorts and fragments short vignettes that fracture before the eyes can source their meaning.

KERE, 2020

This musical segment of the Agora forums deals with art and architecture. The title of the piece comes from Francis Kéré, a Berlin-based architect from the African village Gando in Burkina Faso. His work explores 'radically simple' concepts that intersect community and architecture. Paying homage to Kéré's influence, the piece intertwines simple ideas into tightly woven syncopated patterns that dance around each other, constructed from the ground up. The percussive Afro-beat inspired melodies also explore patterns that are evocative of and prevalent in much of African dance music.

Composer Showreel featuring a range of projects I have edited, scored and directed.

2050: Prelude for a Dying World, 2019

‘2050’ is a piece centred around the increasing disarray surrounding our planet. There is increasing ‘eco-anxiety,’ a relatively recent phenomenon describing constant feelings of apathy and anxiousness towards thinking about the state of Earth’s future, as well as self-consciousness over one’s personal contribution to the decline of the world as we know it. In order to deal with my own eco-anxiety, I collected all of my plastic and non- recyclable waste for a week, as well as some interesting items I found abandoned in the streets of Aberdeen and ventured to create a piece of music entirely out of those pieces and nothing else. This proved difficult, as I wanted the piece to contain elements of melody. I was able to sample the sounds from manipulating different items in specific ways, and used a glass jar as the most clear tonal melody. Many other pieces I collected acted as rhythmic accompaniment, though I was pleasantly surprised at how some sounds could distinctly sound out their own melody in the mix. Ultimately, I stretched out and down-tuned sound of plastic sheets into the uneasy, foreboding sheets that lurk throughout, as I wanted the piece to capture the anxieties of various forms of pollution. The piece was exhibited at a sound art gallery where I could play the video I created for the piece on loop and allowed visitors to play along on a midi keyboard that I had loaded up to a patch I had created out of plastic manipulation. I mixed the sounds in logic, and exported the score for the instruments that I had sampled and tuned; the rhythmic instruments were used as audio loops.

adios nervosa, Turtleshell (composer and sound engineer), 2019

Premiere performance of 'Turtleshell,' the experimental 'dance literature' musical project of Scottish Writer Ian Macartney. "Turtleshell" is a short story about a trainee pastor nightclubbing in a fictionalised Glasgow, first written in 2017. Here the opening is set to music.

Using Format