Alexandra Spence and MP Hopkins are sound makers living and working on Gadigal land in Sydney, Australia. Using foil, flutes, tuning forks, tones, tapes, tiny bananas, stones, mouths + more, their work explores the spatial and sculptural elements of a practice in experimental sound.

Their debut release, The Divine For Me Is Whatever Is Real, was recorded on the cusp of Spring one evening in 2020, at Tempe Jets; a disused sports club hall in Sydney. During this session, a stationary pair of room microphones were encircled by tables of objects, speakers, instruments, and actions. Additionally, Spence and Hopkins shared a pair of in-ear binaural microphones that they roamed the room with, taking turns to inspect up close, and from afar, each other’s sonic activity. The result is a document that moves through states of amorphous sonic density, rattle and clunk, magnetic drift, and instrumental sounds both trill and tentative.

The album’s title is borrowed from Clarice Lispector’s The Passion According to G.H.