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      <image:caption>Stratigraphy by Quartz Sand (2025) Flaming Pines UK</image:caption>
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      <image:caption>A Storm and its Aftermath by David Donohoe and Kate Carr (2025) Flaming Pines (UK)</image:caption>
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      <image:caption>Rubber Band Music (2025) Flaming Pines (UK)</image:caption>
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      <image:caption>Organelles by Kate Carr and Matt Atkins (2025) Flaming Pines (UK)</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>Fatbergs - Rubbish Music (2024) Persistence of Sound UK</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>Midsummer, London (2024) Persistence of Sound UK</image:caption>
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      <image:caption>A Field Guide to Phantasmic Birds (2023) Room 40 Australia</image:caption>
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      <image:caption>Zippered Time, Winged Dialogue by David Birchall, Kate Carr and Tullis Rennie (2024) Flaming Pines (UK)</image:caption>
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      <image:caption>Fever Dream 2023 (Mana Records UK)</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>False Dawn 2023 (Flaming Pines UK)</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>making do (2022) Tool Use Canada</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>Upcycling - RUBBISH MUSIC (2022) (duo with Iain Chambers) Flaming Pines UK</image:caption>
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      <image:caption>fake creek (2022) Flaming Pines UK</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>dawn, always new, often superb inaugurates the return of the everyday (2021) Forma Arts UK</image:caption>
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      <image:caption>Splinters (2020) TACO gallery UK</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>For some odd reason (2020) Amplify2020, USA</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>on every stair another stairway is set in negative (2020) Amplify2020 USA</image:caption>
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      <image:caption>Cycling (2020) with Sheryl Cheung Flaming Pines UK</image:caption>
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      <image:caption>Where to begin (2020) Flaming Pines UK</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>Heatwave (2019) Hasana Editions Indonesia</image:caption>
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      <image:caption>Contact (2019) Flaming Pines UK</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/f4a6680b-6811-49f2-a688-dd30d8d7c3f8/longform.jpg</image:loc>
      <image:title>Sound</image:title>
      <image:caption>City of bridges (2019) Longform Editions Australia</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/43460ad0-40e5-4700-96f1-9bac6e60e837/myth.jpg</image:loc>
      <image:title>Sound</image:title>
      <image:caption>The thing itself, and not the myth (2018) Glistening Examples USA</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/ca4b149a-d6fe-44c6-a434-e1fbdc8487d8/brixton.jpg</image:loc>
      <image:title>Sound</image:title>
      <image:caption>I ended out moving to Brixton (2018) Flaming Pines</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>From a wind turbing to vultures (and back) (2017) Flaming Pines UK</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/4fd1e668-92b7-48bf-9790-2079c7177225/story+surrounds.jpg</image:loc>
      <image:title>Sound</image:title>
      <image:caption>The story surrounds us (2017) Helen Scarsdale USA</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/b5215ed9-025f-4cc9-ba91-5d6268047275/endings.jpg</image:loc>
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      <image:caption>Endings (2017) Galaverna Italy</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/0bd86478-fc7c-47f3-b154-7498da837ded/a0145516197_10.jpg</image:loc>
      <image:title>Sound</image:title>
      <image:caption>I had myself a nuclear spring (2015) Flaming Pines and Rivertones UK</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>It was a time of laboured metaphors (2015) Helen Scarsdale USA</image:caption>
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      <image:title>Sound</image:title>
      <image:caption>Fabulations (2014) Soft France</image:caption>
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    <lastmod>2024-02-05</lastmod>
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  <url>
    <loc>https://www.gleamingsilverribbon.com/about</loc>
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    <priority>0.75</priority>
    <lastmod>2026-01-12</lastmod>
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      <image:title>About</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/1633422872357-FVZV76WX42A3UI6Y9X7T/kc_oto.jpg</image:loc>
      <image:title>About</image:title>
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  </url>
  <url>
    <loc>https://www.gleamingsilverribbon.com/contact</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2021-10-07</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ce435d6bea1ed00016ba287/1558964652247-5MWXNMFZVOPGE4TY6U2Q/MHeiderich_ReflexionenZwei-05-copy.jpg</image:loc>
      <image:title>Contact</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/61155e7db0fbdc1d4a87f73b/1633420382465-DZXJ9OYICIN6DXXVEN4U/web+berlin.jpg</image:loc>
      <image:title>Contact - I can be booked for various things: performances, workshops, teaching and festivals. You can find me at: kate.carr@gmail.com. If you want to support my work you can visit my bandcamp where you can find all of my releases. You can find my spotify profile here too.</image:title>
      <image:caption>Photo: Performing at The Long Now, MaerzMusik Berlin by Camille Blake .</image:caption>
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  <url>
    <loc>https://www.gleamingsilverribbon.com/news</loc>
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    <priority>0.75</priority>
    <lastmod>2026-02-14</lastmod>
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      <image:title>News</image:title>
      <image:caption>Gigs and news! Friday Feb 13, Opening The Thingness of Stuff, Ruby Cruel, Hackney. curated by Luke Drozd Opens Friday 13th Feb 6-9pm Continues 14th &amp; 15th 2-6pm, 21st &amp; 22nd 2-6pm Or by appointment ‘The Thingness of Stuff’ is an exhibition of artists who use collecting as a starting point for making. Curated by artist Luke Drozd, this exhibition looks at the nature of obsession and gathering - via personal collections and archives – and the connections which form between seemingly unconnected ‘things’. Paintings composed from record sleeves bought from charity shops, audio work woven together from train announcements, ruminations on the everyday and the overlooked, a spiralling quest to collect second-hand copies of Paul Young’s album No Parlez and more. As part of the exhibition, a live event called ‘The Stuffness of Things’ will take place on Wednesday 18. February at Multi Story in Peckham, South London, featuring live sets from Kate Carr and Misery Bacon/Luke Drozd. Environmental recordings, subtle electronics, and archival noise creates immersive sound worlds and collaged soundscapes. Artists in the exhibition are: Kate Carr Noel Clueit Luke Drozd Alan Dunn Graham Dunning Joanne Lee Mark Pawson Suren Seneviratne Maia Urstad LIVE GIGS 18th Feb, Multistory Peckham (solo) with Misery Bacon and Suren Seneviratne for The Thingness of Stuff exhibition. 21th Feb, Filet Space, Islington (solo and in group) In Conjuncture for The School of the Damned 28 February, Iklectik, Peckam Signature Dish, Resonance FM fundraiser, playing in duo with Angharad Davies. 10 March, AI Gallery, Spitalfields Rubbish Music gig with Beibei Wang. 12 March, Spanners, Loughborough Junction, (solo) Wabi Sabi tapes event with Melodie Blaison and Beachers.</image:caption>
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      <image:title>News - Radio 3 feature</image:title>
      <image:caption>Pretty thrilled about this. The amazing Late Junction team came to visit me in my studio a little while back, and this feature episode is the result. Big thanks to Cat Gough and Jennifer Lucy Allen. Airs Oct 10. ———————————————————————————</image:caption>
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      <image:title>News - New release.</image:title>
      <image:caption>Stratigraphy - Quartz Sand - Out Oct 17, 2025 Flaming Pines (CD/digital) New release with Cath Roberts. This is our debut as Quartz Sand. ——————————————————————————— A churn of electronic noise is flung into dialogue with the smeared and manipulated bleats of a seagull horn, the former like the grind of agricultural machinery, the latter like prolonged saxophone missives or doppler-arced racetrack noise. We encounter many moments like this throughout Stratigraphy: gushes of clashing colour, sudden illuminations of jagged edges. This is how Kate Carr and Cath Roberts resist the absolute fusion of their respective sound worlds, rekindling our awareness of their status as separate entities. Yet their dynamic is anything but antagonistic. Instead they delight in their assimilative limits, relishing the quiet charge of combining drones at crooked angles, or how creaking wood nestles awkwardly into sputters of raw synthesiser. Patiently and playfully, the players locate points of contact within each other that incite a certain murmuring and restless deadlock, pressing into the hard-stops of elemental disparity. The album takes its name from the study of rock layering, which is centred on the law of superposition: in a stratigraphic sequence, the oldest rock layers are found at the bottom. Aptly, these two extended compositions feel adherent to a "vertical" sort of time; not just in how they refute linear forms of progression, but also in their stacking of brighter, crisper textures – chimes, jangles, squeals – atop the more primally-derived poolings of resonance and feedback. Samples embark on loops, slurp into reverse, belatedly reprise themselves. Linear time is crushed into a simultaneous jostling of disparate eras, with the vibrancy of the present tense perched atop a crooked catalogue of stalled histories.  Words by Jack Chuter.</image:caption>
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      <image:caption>A Storm and its Aftermath - David Donohoe and Kate Carr Flaming Pines (CD/digital) Carr and Donohoe eschew the typical depiction of a storm as a linear escalation. Instead they illuminate the multitude of comings-and-goings that occur throughout its lifecycle: the quietening of birdsong, the thickening and dispersal of the wind, the ever-changing texture of the rain. The title itself is an act of misdirection. Most of the runtime concerns the storm’s prelude (it’s a full half-hour before we hear the first rumble of thunder), and we’re ushered into a fadeout before we even reach the aftermath. Thus we’re left to reevaluate the edges that constitute the composition and its concept. When can a storm be said to truly commence? What if the aftermath is for us to nurture within ourselves, in silence, after Carr and Donohoe have departed the frame? The piece is based on a performance at last year’s Open Ear Festival, which takes place each year on Sherkin Island in Cork, Ireland. Using a combination of field recordings, instruments and natural materials gathered from across the island, the duo trace the transformation of a landscape as a storm passes through it. Their instrument performances often manifest as acts of camouflage, with horn-like drones woven into the actual howl of coastal gales, or shakers mimicking the early stirrings of a downpour. Yet elsewhere these musical interventions are sudden: deep, metallic clangs that ripple through the surrounding environment, sending mammalian bleats into retreat and calling amphibious gurgles forward, announcing the progression of the storm into a new phase. There’s no dramatic climax. The thunder is fleeting and subdued, caught within the crossfade between anticipation and consequence. uter.</image:caption>
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