INTONARU presents Mud, Water, Oil

Up-and-coming experimental music project INTONARU (Katherine Lee, Tristan Hail) presents a night of collaborative and solo works in a debut show at The Talleyrand. Evaluating the fragile relationship between the natural and industrial world, Mud, Water, Oil , features live electronics and prepared instruments in tactile sonic landscapes.

Tickets are pay-what-you-can, with a suggested donation of £5.

​Katherine Lee is a Hong Kong composer and performer based in the UK, specialising in electronic and experimental music and guzheng performance. She is fascinated by subtle sonic possibilities within instruments, objects, and space, often contrasting delicate textures with moments of intensity. Her work explores sound as a medium for documentary, reflection, cultural identity, political, and human rights issues, engaging both listening and visual perception by examining the relationship between acoustic phenomena and human perception.

From her cross-cultural background, Katherine integrates Asian sonic traditions with contemporary Western practices, creating a unique compositional language that bridges cultures and perspectives. Many of her projects are site-specific, engaging with architecture, spatial dynamics, and audience placement to shape perception and immersive experience. Through these explorations, she challenges conventional notions of performance, creating environments where sound, material, and human presence converge, inviting reflection on the subtleties of sound. By combining experimental techniques with conceptual rigor, she fosters collaborations with performers, ensembles, and interdisciplinary artists.​

Tristan Hail is a composer, performer and sound artist based in London. Juxtaposing dissassociative and often brutalistic sound design against the timbres of prepared instruments, elements of deconstructed dance and contemporary classical musics become a compositional playground for experimentation. As a violin performer, he works across Western classical and free improvisation styles.

Unafraid to tackle a variety of mediums, Tristan's interest in movement-based arts practices and audio-visual components often fuse with a predilection for chamber ensemble concert music. Recent engagements include performances alongside experimental duo MUON, 2026 Composer-in-Residence for Royal Holloway, University of London, and featured Young Artist for The Longplayer Trust. Described by John Hardy as an artist who "provides more questions than answers", he hopes his work serves as a space for audiences to reflect on the topics at hand, without pressure for a solution.

Info: 'harbinger' pits time and memory against the loop pedal. Musical gestures layer on top of each other until the original elements cease to be heard at all, undergoing slow transformation into a soundworld entirely distinct from the one first present.

Info: Tin Ling Ling Dei Ling Ling reimagines Hong Kong’s WWII-era Nam Koo Terrace ghost myth as a sonic ritual of bowls, rice, guzheng and live electronics. It unfolds between life and death, where spirits wander and resist disappearance. Through acts of prayer and invocation, the piece traces a passage from unrest toward transformation. Death becomes cyclical rather than final, returning the spirit to reincarnation, again and again.

Info: Mud, Oil, Water is an audiovisual work that explores found sound objects and liquids associated with the industrial era, focusing on the often-overlooked sounds they produce. Through experimentation with elements such as mud, oil, water, and stones, the piece reveals hidden sonic textures and transforms them into a sonic experience.
The work is also interactive, inviting the audience to become part of the creative process. By engaging directly with the materials, participants contribute to the evolving soundscape, blurring the boundary between performer and listener, as a shared act of exploration and discovery.

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