Hi there,

you received this email – my first studio diary entry – because you either subscribed or we exchanged emails regarding my work at some point, and I thought you might be interested in being part of this.

Starting a newsletter has been on my mind for years. I’ve always been drawn to slower formats – spaces where thoughts can unfold and ideas can be shared beyond what fits into short-form posts.

This is an attempt to create exactly that: a more direct and independent way of sharing my work, outside of ever-changing algorithms.

You can expect occasional updates from the studio – including previews of new works, insights into my process, and fragments from my daily practice. Over the past six years, making music has also become a big part of my routine. I plan to include one SOUND DIARY recording in every letter.

_{Exploring sonic worlds, September 2025}

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SOUND DIARY #1
(click the link to get to my bandcamp)

This week’s track is directly linked to my most recent painting series DISPLACEMENT.

In 2021, not long after I discovered my passion for making electronic music, I came across a video tutorial explaining how to build tape loops. As a child of the 80s, I never left the house without my Walkman and a handful of cassettes. As the years passed, technology evolved – cassettes were replaced by CDs, and later MiniDiscs. But when I watched that tutorial, I immediately felt my connection to this medium return.

Soon after, I visited my parents’ house and went on a mission to collect as many dusty cassettes as I could find in the basement. Back in the studio, I started taking them apart and – by cutting and splicing the magnetic tape – built my first loops. I experimented with different lengths, winding the tape around multiple spindles, eventually even cutting the cassette shell in half so a three-meter loop could exit the player and run through the living room.

_{Building a tape loop / December 2021}

I discovered that the act of building these loops was a perfect way to slow down and disconnect from everything around me.

Of course, I didn’t invent this technique myself. I absorbed as much information about it as I could. One name that kept appearing in my research was Brian Eno. I read about his tape loop experiments in the 1970s, as well as his time in the studio with David Bowie. I listened to his work with Roxy Music and solo albums like the groundbreaking “Music for Airports”.

To this day, he remains one of my favorite artists – not only because of his music, but also because of his visual work and the way he approaches his practice with such openness and humility.

When my partner Zahra returned from a trip to London early 2022, she brought me a book titled Brian Eno – Visual Music, which focuses on his generative work. At that point, this way of thinking was completely new to me. As someone who could spend hours – sometimes days – adjusting elements in a digital sketch until a composition feels right, the idea of building a system that introduces controlled randomness within defined parameters felt both exciting and freeing.

I immediately started thinking about how to incorporate a more generative process into my own work. It would take another four years until I found the right tools to develop my own system, which now forms the foundation of my latest series, DISPLACEMENT. (I’ll share more about the development of this series in a future studio diary)

_{Developing a system / Preview DISPLACEMENT, 2025}

For now, I’d like to invite you to slow down for a moment and listen to the first SOUND DIARY.

As a small homage to Brian Eno, I used a short tape loop I recorded back in 2021 as the main element. The other day, I worked with a four-track sampler: the original loop runs on tracks 1 and 2, processed through effects. On the second track, the loop is slightly shorter, causing the two layers to drift apart over time. Tracks 3 and 4 are built from fragments of the original loop – forming a noisy, unstable drone and a pulse-like element that moves in and out of the mix.

I was already quite tired after dinner that day when I decided to return to the studio. I love being there at night. I went upstairs to my music area and only turned on a small desk lamp. At that time, the street outside had gone quiet – hardly any pedestrians, just the occasional 13A bus passing by, its brakes softly filtered through the studio window.

That’s when the space feels most peaceful.

I turned on the sampler and began working with the tape loop. My phone was off. At some point, I felt satisfied and recorded the piece onto my computer so I could listen back the next morning.

Only then did I realize I hadn’t seen a bus in quite a while.

I had slipped into a state where time didn’t seem to exist.

I locked the studio and walked home with a smile on my face. The cats were already waiting for some shared playtime. It was past 2am when I turned off the lights – already looking forward to the first coffee in the morning.

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_{In front of RESET (acrylics on canvas / DISPLACEMENT series), February 2026}

Thank you for being part of this!

If at any point you no longer wish to receive these emails, you can unsubscribe – no hard feelings.

I plan to write the next studio diary in about a month. Until then, have a wonderful spring.

Much love,
B O I C U T

^BOICUT.COM

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