Presale - Expected Soon

Tracklist:

Brian D'souza - Hector's Sunflower (edit) 

Jason Singh - Tsubaki

Modern Biology & Zekarias Musele Thompson - Growing Roots

Justin Wiggan & Arve Henriksen - A Spectral Wind

Helen Wilson - Porcupine & The Outdoor Girls

OMMA - Voices

Lamine - Bougainvillea

Bit Marten - Sansevieria

Balam - Ixora Coccinea

Brian D'Souza & Lamine - Monstera vs SnakePlant

Curated by Brian d'Souza (aka Auntie Flo), Plants Can Dance is a new compilation bringing together a global community of artists, exploring the creative possibilities of biosonification - transforming signals from plants, ecosystems and the natural world into sound - the project marks the culmination of several years of d'Souza’s work across music, ecology and technology.

The project builds on several years of work by d'Souza, whose Plants Can Dance events have taken place across the UK, Europe, India and Africa, appearing in institutions including the V&A, Tate and the Design Museum. What began as a series of intimate gatherings has since evolved into a global platform, reflecting a growing appetite for work that reconnects music with the natural world.

The compilation features contributions from leading practitioners including Modern Biology (Tarun Nayar) in collaboration with saxophonist Zekarias Musele Thompson, OMMA (Olga Maximovam founder of Playtronica), Jason Singh, Dr Helen Anahita Wilson, Justin Wiggan in collaboration with celebrated Norwegian jazz musician Arve Henriksen, Lamine Touré, Bit Marten and Balam, alongside new work from d'Souza himself. Using a range of tools - from commercially available devices to bespoke modular systems - artists translate electrical activity, environmental data and organic processes into musical material.

The processes behind each piece differ - from interpreting plant biodata to translating wind patterns into compositional structures - and the results are as varied as they are compelling. The record spans ambient, jazz, electronica and modern classical, yet all pieces are unified by a shared intent: to reimagine music as a space of collaboration between human and more-than-human worlds.

At the core of Plants Can Dance is a question about how we define music, and how we choose to listen. Traditional musical forms, with their fixed tempos and predictable structures, give way here to something more fluid and less easily controlled. The listener is invited to surrender expectation and engage with sound as an evolving environment rather than a linear narrative. In this context, the compositions function as what d'Souza describes as “acoustic ecologies” - sonic systems shaped by biological, environmental and elemental forces unfolding in real time.