London-based composer and sound artist Paul Cousins is redefining the listening experience with Atomised Listening, an interactive installation that transforms audiences from passive listeners into active performers. The work, rooted in the theories of philosopher Theodor Adorno, utilizes a network of vintage reel-to-reel tape machines to create a dynamic and evolving soundscape. Cousins, who previously contributed to Fact Magazine’s Patch Notes series in 2020, sees the installation as an exploration of how technology shapes our relationship with music and sound.
The core concept behind Atomised Listening stems from Adorno’s idea of music as fragmented, disconnected moments rather than a cohesive whole. Cousins translates this theory into a physical experience, where the “atoms” are individual tape loops and the listener controls the composition through a mixing desk. “Using tape machines, I wanted to create a multi-channel, asynchronous work along these lines that is participatory,” Cousins explains. “The composition evolves until the next user interacts with the work, using the mixing desk.” This participatory element is central to Cousins’ artistic vision, shifting the traditional power dynamic between artist and audience.
The Allure of Obsolete Technology
Cousins’ work is deeply intertwined with a fascination for obsolete technology. He doesn’t simply employ vintage equipment for aesthetic reasons; he actively explores the inherent limitations and imperfections of these machines. “1/4″ tape has a certain character, and often contains imperfections that I’m interested in highlighting,” he says. “It’s inspiring to hear a recording format’s influence on a composition, and I enjoy leaning into the limitations of tape rather than searching for subjective perfection.” This embrace of imperfection is a recurring theme in Cousins’ broader artistic practice, which often centers on the beauty of decay and the stories embedded within aging technology.
Atomised Listening was meticulously recorded at The Cause in London, a venue known for its dedication to underground electronic music. The installation itself required a substantial collection of equipment: five Akai reel-to-reel machines from the 1960s and ’70s, a Roland Space Echo RE-201, and a TEAC M-30 mixing desk. Cousins notes the logistical challenge of assembling the setup, stating, “I needed five to create this installation, plus another five as backup. Finding and servicing the machines was quite a long process.” This dedication to authentic, analog equipment underscores the artist’s commitment to a tactile and immersive experience.
A Career Built on Tape and Texture
Paul Cousins’ artistic journey extends beyond Atomised Listening. He’s a prolific composer and sound artist whose work has been featured in installations at prominent venues like the Barbican and 180 Studios, and has garnered attention in publications like FACT magazine. His compositions often explore themes of obsolescence and imperfection, utilizing a distinctive sonic palette created through looping and reshaping electronic productions with his collection of reel-to-reel tape machines and effects. He has released music with labels including Decca, Castles in Space, and BMG, and has collaborated with a diverse range of artists and filmmakers.
Recent projects include a residency with Dyski in Cornwall in 2025, where he continued his work with tape-based compositions, and the release of his LP, in a fugue state, on None More Records, also in 2025. He also released Live At Iklectik on Castles In Space in 2025. In 2024, Cousins presented Atomised Listening as an interactive sound exhibition at Stone Nest in London, and his work was featured in FACT Magazine’s “Patch Notes.” His album, Vanishing Artefacts, released on Castles in Space, further solidifies his exploration of the sonic qualities of decaying technology. Listeners can explore Cousins’ work further on Bandcamp and follow him on Instagram.
Credits and Further Exploration
Atomised Listening was written and produced by Paul Cousins, directed by Ed Harber, and received support from Oscar Coakley, Bruce, and Stuart Glen at The Cause. Those interested in the intersection of art and sound can explore The Vinyl Factory’s immersive exhibition at 180 Studios, as highlighted in a recent article.
Looking ahead, Cousins continues to push the boundaries of sound art, inviting audiences to reconsider their relationship with technology and the creative process. His work serves as a compelling reminder that even in an increasingly digital world, there is still profound beauty and artistic potential to be found in the imperfections of the past.
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