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"For over a year now, London has been a simmering site of dormant musical gatherings and suspended physical proximities, prompting me to wonder what's happened to the visceral, tactile energies through which collective musical formations gain so much of their social and emotional force. As Ben Assiter points out, the migration of electronic dance music online during the pandemic accelerated currents that were already underway with the ubiquity of livestream platforms like Boiler Room. With physical assembly prohibited, the dematerialization of collective musical experience gave rise to a whole new level of face-to-screen "participation," as solitary DJs began broadcasting live from empty clubs to bedroom audiences, who in turn performed "ironic dance floor interaction[s]" in the chat boxes."

We Come From Your Future is a sound investigation into the future of anti-racism in the UK. It asks how the public discourse on ethnicotherness, diversity, and multiculturalism may contribute to the very conditions of racism? How has the erasure of terms like anti-racism, racist violence, and justice from the official bureaucratic language actually worked to both conceal and foment new convergences of racial tension? How has the composition and re-composition of migration in the UK contributed to new lines of anti-racist experience and opened up to new fields of struggle? What are the obstacles for a re-constitution of an anti-racist movement?

"Language can be a site of loss, a wholeness with which one, due to migration, has never really known. In the above passage, artist, Jesse Chun, reflects on how her grandmother spoke words in a language she did not understand, but yearned to hear and feel those sounds after her passing. There is a sonic residue that sticks to diasporic experiences. There are sounds that can stir up a blend of affect and ideation that is comforting when whiteness is unsettling."

Samson Young's compositions, drawings, installations, radio broadcasts, and performances touch upon topics such as military conflict, identity, migration, and political frontiers past and present. Sound and its cultural politics are at the heart of a practice that interlays multiple narratives and references. The relationship between violence and sound is a recurrent line of investigation in Young's work, which is often based on extensive research.

"Silenced voices of disappeared dissidents and migrant slaves. Melodies lost to the violence of empire. Vanished monuments marking anti-colonial choruses. Hidden, transgressive dances of migrant domestic workers. Inaudible and obscured, these sounds and movements haunt Hong-Kai Wang's work. Rather than erecting monuments to these pasts, Wang uses listening, sounding, and singing as conduits to these lost or absent acts across temporal and geopolitical distances. This practice, situated around sound both real and imagined, might be described as anti-monumental."