My creative practice is centred on articulating the relationship between people and place through sound.
Drawing on field recording, experimental composition and sonic mapping my practice aims to examine the ways we shape and are shaped by the lived sonic realities of our natural and built worlds.
Weaving together real and imaginary journeys, intensive explorations of sonic enclaves and sonic transects which re-deploying the scientific concept of transect sampling into the realm of sound, my practice explores both human and natural geographies.
I am particularly interested in processes of de-population, decay and renewal, lost sounds, music in public spaces and the role of the aural in storytelling and memory.
Carr has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico.
Her work has been featured in The New York Times, The Wire, Pitchfork, Fact Magazine, The Quietus, and The Guardian. It has also been played on the radio on stations ranging from various channels of the BBC, to independent stations in Estonia. Her music can be found on the labels Helen Scarsdale (US), Rivertones (UK), Soft (France) 3Leaves (Hungary) Galaverna (Italy) as well as on her own label Flaming Pines.
Recently she has been doing more live work, with gigs at London's Cafe Oto, Riga's White Night's festival, the Bello Bar in Dublin, and even a show performed from the deck of a restored herring trawler in Siglufjordur in Northern Iceland.
Carr is Australian, and lives in London.
Playing at London's Cafe Oto in September 2016. Photo: Neil R Thomson.