Author: Lucian Raviel Rao

  • Am I Performing Queerness When I Mix?

    I was working on a DJ mix for fun — nothing fancy, just a 30-minute blend. But when I listened back, I noticed something odd: all the tracks I’d chosen had high-pitched, autotuned vocals, blown-out kicks, distorted transitions. It was dramatic, disjointed, and, I realized, deeply familiar. Someone casually commented, “That’s such a queer mix,”…

  • Why Glitch Feels Honest, Even When It’s Wrong

    During a workshop on texture in sound design, our tutor played a collection of high-definition, ultra-polished samples — sparkling synths, clean drums, flawless reverb tails. Technically perfect. But emotionally? They felt hollow. I kept thinking, “Why does this leave me cold?” That night, while working on my own track, my USB interface glitched midway. The…

  • What Kind of Sound Artist Do I Want to Be?

    This project made me think a lot about sound and storytelling. I used to think sound art was just abstract — strange noises, experimental things. But now I see it differently. Sound can tell deep stories, even when there’s no picture. Working on this radio drama helped me connect with a part of myself that…

  • Voice Acting

    I’ve never thought of myself as a performer. I like writing, editing, building ideas — but acting? Not really. At first, I didn’t even want to record my own voice for this project. I felt uncomfortable hearing myself, and I thought someone else could do it better. But in the end, I did it. And…

  • I Found Horror Movie Sounds in My Kitchen

    Before this project, I didn’t really know what “foley” meant. I thought it was something only used in big films, with special studios and expensive equipment. But then I tried it in my kitchen, and now I’m kind of obsessed. I needed a sound for a creepy door. I didn’t have one, so I tried…

  • How Do You Control Rhythm in a Radio Drama?

    One thing I learned quickly in this project is that radio drama has its own rhythm, and it’s very different from film or music. At first, our script felt like a short movie — fast cuts, quick transitions. But when we recorded it, something felt off. Without visuals, everything moved too quickly. The listener didn’t…

  • Build Suspense with Sound

    This week, I started thinking about suspense. In a visual film, you can show someone hiding behind a door or use lighting to create tension. But in a sound-only piece like ours, how do you do that? I listened to a few classic radio horror stories, and I noticed something interesting: silence is a big…

  • Why Do Old Voices Sound So Different?

    I’ve always wondered why voices in old movies or radio shows sound so different from today’s. It’s not just the background noise or the music — the voices themselves feel more distant, more dramatic, even a little strange. This week, I finally decided to look into it. At first, I thought it was just about…

  • WEEK8

    Aphex Twin’s “Windowlicker” is a standout in electronic music, known for its distinctive sound design and innovative composition. Gesture and Texture Gestures in this track are marked by sudden rhythm shifts and dramatic sound effects. The soft groove at the start is interrupted by sharp brake sounds and heavy, irregular beats, creating surprise and tension.…

  • WEEK 7

    Today at Trinity Buoy Wharf, I had the chance to experience a truly unique sound art piece—Jem Finer’s “Longplayer.” This work began playing on January 1, 2000, and is designed to continue for 1,000 years. Honestly, the concept alone is mind-blowing. Who could live for 1,000 years? No one. And that’s precisely what makes it…