Lost And Sound

Kicking of 2026 on Lost and Sound with a composer who treats architecture as an instrument and refusal as a creative decision. I sat down with experimental composer Lea Bertucci to explore how spatial sound, politics, and process collide in work that feels both ancient and urgent.Lea’s most recent work, The Oracle, is a voice-led album shaped by site-specific acoustics and a climate of Trump-fuelled propaganda and fatigue. We get into the dynamics of spatial sound – how the resonances from recording in a post rainstorm cave in upper New York or in a grain silo in Buffalo can become part of the crerative process —less “reverb plugin,” more duet with geology, history, and weather.Lea also came off Spotify recently, and we go into why coming off this platform was important to her. We talk DIY survival, the role of class in curation and gatekeeping, and how to move between basements and concert halls without losing the hope and humanity that makes scenes thrive.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 or wherever you like to listen.Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. Check them out here: Audio-TechnicaLea Bertucci on Instagramhttps://www.instagram.com/lilbertucci/?hl=enLea Bertucci on Bandcamp:https://leabertucci.bandcamp.com/My book Coming To Berlin is a journey through the city’s creative underground, and is available via Velocity Press.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

A decade after lighting up the UK post-dubstep landscape with his own brand of sadness-tinted bright-focus electronic pop, Orlando Higginbottom returns with a new shape and a sharper edge. Dropping the Totally Enourmous Extinct Dinosaurs nom de plume, now as TEED, he opens up about rebuilding a creative life, dropping that Dadaist moniker that became a barrier, and writing Always With Me as a front-to-back album designed for deep listening. We dig into the real cost of momentum, the strange mix of pride and embarrassment that comes with releasing art, and why the only way to find magic is to run through the cringe instead of hiding from it.Moving from Britain to LA, Orlando speaks honestly about confronting British attitudes to success, learning from American civil rights conversations, and the humility that comes from realising how much you don’t know until you leave home.Fans of Junior Boys, Metronomy, and New Order will hear familiar emotional colours in Always With Me: bright, economical production carrying bittersweet lyrics and synth lines that linger. Orlando shares the turning points that kept him going, from burnout after Trouble and industry targets that narrowed his world to a liberating SoundCloud drop that kickstarted a new season of work. Along the way, he offers grounded advice for artists: decide whether you’re chasing quick wins or a lasting identity, share work early, set your rules, and avoid outrage-for-clicks traps because relationships outlast algorithms.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 or wherever you like to listen.Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. Check them out here: Audio-TechnicaTEED on Instagram:https://www.instagram.com/teed/?hl=enTEED on Bandcamp:https://t-e-e-d.bandcamp.com/album/always-with-meMy book Coming To Berlin is a journey through the city’s creative underground, and is available via Velocity Press.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

Just as everyone else is winding down for the seasonal break, Lost and Sound returns after my project sabbatical with one of UK club culture’s most vital voices: I. JORDAN.We trace a line from Doncaster fairgrounds and bassline bus journeys to festival stages — and to the 2024 debut album I Am Jordan, which places community, class, and queer belonging at the centre of contemporary dance music.It’s a fast-moving conversation about sound, craft, and care. We talk about why tempo is a feeling rather than a rule, how working at 132–136 BPM can sharpen intent, and what happens when a seven-minute club tool becomes a three-minute vocal track that completely shifts how your body responds.We get into the granular details too: the feedback loop between club and studio, testing dubs on big systems, and the patient editing that turns a drop into a collective release on the dancefloor.Class and culture cut through everything. We discuss reclaiming the much-maligned donk on Ninja Tune as a deliberate act — honouring northern working-class roots while shaping a scene that gives trans artists agency, visibility, and joy. We also talk about why some crowds are easier to guide than others, what truly separates underground from mainstream energy, and how health, sobriety, and touring habits are central to building a sustainable life in music.I.JORDAN on Instagram https://www.instagram.com/i.jordan/?hl=enI. JORDAN on Bandcamp:https://i-jordan.bandcamp.com/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 or wherever you like to listen.Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. Check them out here: Audio-TechnicaBig news time: If you’re wondering where LoI made a radio documentary with my partner Rosalie Delaney for BBC Radio 3. It’s called Wolf Biermann: The German Bob Bylan exiled by the GDR and it’s on the radio on December 28th at 19:15 UK time: https://www.bbc.co.uk/programmes/m002npsfMy book Coming To Berlin is a journey through the city’s creative underground, and is available via Velocity Press.You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.

Gwenno definitely lives through her art. I sat down with the musician and producer to trace a decade-long arc from home-built studios to a Mercury-nominated breakthrough, and into Utopia—an album that weaves Welsh, Cornish, and English into vivid, human pop. The conversation opens with a simple idea that grows larger as we go: language changes what music can say. Welsh brings political sharpness; Cornish opens a deep, interior cave of comfort and myth; English, returned to with intent, becomes a map of places, people, and time. Along the way, we talk about recording at home with Rhys Edwards, the porous line between family and work, and why songs feel more vital as the world gets more digital.I found it really refreshing how Gwenno doesn’t hold back when it comes to talking taste, technology, and the future of culture. She pushes back on AI’s promise not with fear but with a clearer definition of progress: if a tool only accelerates the past, it can’t point to new worlds. We unpack Adam Curtis, Mark Fisher, and the feeling of living in a loop, then rediscover hope by looking at how scenes are actually made—people in spaces, collaging references into something surprising. That’s where psychedelia lives for her: in the crack where a wildflower appears, in non-linear time, in the human mistake that turns into the moment you remember.Follow Gwenno on Instagram https://www.instagram.com/gwennosaundersBuy / Listen to Utopia on Bandcamphttps://gwenno.bandcamp.com/album/utopiaIf 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.Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. 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 does it mean to make music that faces the harshest truths while still holding beauty and hope? Peter Silberman of The Antlers seems to have made contemplating this question a major theme of his life's work, crafting albums that dive deep into emotional and existential territories without losing sight of sonic beauty.On the eve of releasing The Antlers' seventh album "Blights," Silberman spoke with me about how environmental concerns and our accelerating consumption have shaped his newest work. Rather than creating music that points fingers, Silberman examines his own complicity in environmental harm. "I hadn't yet heard music that acknowledges this unwilling participation in these problems and the guilt around it," he shares, noting how our modern world makes it "almost impossible not to be part of the problem.”We spoke about The Antlers' twenty-year history, from Silberman's early days navigating Brooklyn's music scene to the creation of "Hospice," often described as one of the saddest albums ever made. There’s something method-like about how he maintains emotional authenticity when performing older material, likening it to "inhabiting a character or persona... playing myself at a different age." Throughout, Silberman's thoughtful approach to music-making shines through, particularly in his deliberate use of quietness and space as counterpoints to our increasingly noisy, distracted world.Follow The Antlers on Instagram: 👉 The Antlers InstagramBuy / Listen to Blight on Bandcamp: 👉 Blight on BandcampIf 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.Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. 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.