nown for being loud and sonically bustling, cities also contain hidden visual rhythms that become noticeable after dark. Indicator lights on a line-up of cars waiting to turn create intricate and ever-varying polyrhythms; silhouettes of pedestrians obscure the headlights of waiting cars and create pulsing patterns reminiscent of morse code.

SychroniCity derives its source material from ‘field recording’ videos of city lights, taken by the composer and ensemble in their home towns or on their travels. These videos will form a tightly synced backdrop to the ensemble’s sonic translation; the inaudible rhythms of the city transcribed, transfigured, and orchestrated into an audible representation of unheard beats and metres from around the world.

From construction-zone warning lights, to malfunctioning advertisement screens, cities around the world are full of voiceless announcements, instructions, and communication. The way we interact with each other as pedestrians, from vehicles, and as stationary observers is prescriptive to the silent beat of traffic lights, car lights, and even light-up footpaths. SychroniCity encourages us to hear past the bustling noises of the city, and listen to the hidden rhythms of our visual communication.