Otoconia

Granny Records / Granny 44 CD/DL

An elliptical and enigmatic new release by Mark Vernon. Named after the microscopic crystals of calcium carbonate within our inner ear that can cause vertigo when dislodged, the album has an equally disorientating effect as all sense of time is dissolved in its delicate folds. Otoconia is an abstract and deeply immersive sonic experience crafted through the intricate interplay of field recordings and the EMS Synthi 100 synthesizer.

Known for his evocative soundscapes and narrative-driven compositions, Vernon has ventured into uncharted territory with this album. Unlike anything else in his oeuvre this fifty-plus minute work is an immersive, hypnotic sound bath of frequencies and tones. The deft use of ambient textures and abstract sonic gestures draws listeners into a liminal state, offering a meditative, introspective listening experience.

Composed using the legendary EMS Synthi 100, the basis of the piece is formed from processed field recordings run through a chain of the Synthi’s filters and effects. For the most part the piece was mixed live with some tinkering and adjustments after the fact. A significant departure from the work with found tapes and audio archaeology that Vernon has become known for, we hope you enjoy losing yourself in this sublimely mysterious musical mirage.

Released on Greek experimental label Granny in a limited edition of 100 CDs.

Composed and recorded by Mark Vernon · Mastered by Yannis Tsirikoglou · Artwork by Yorgos Vourlidas

Edition of 100 copies.

Reviews:

“With its minimal pulsations and long-form mode, this is a fitting wreath to lay at the grave of Eliane Radigue.”

Ed Pinsent, Sound Projector (July 2026)

Reviews in Full

“Regular TSP fave Mark Vernon here with Otoconia (GRANNY RECORDS GRANNY 44) – his second release for this small-run Greek label of experimental music.

“Something a bit different” is the message on his hand-penned note. He might be referring to his use of the EMS Synthi 100 on this 51:08 single piece, which would indeed be something of a departure for this composer who I associate so closely with magnetic tapes, found sounds, and near-obsolete audio hardware. He’s blended the synth with field recordings in this work, which at one level I am prepared to take as a clinical study of the phenomenon of balance. Otoconia are also called “ear stones” – these microscopic rocks which float around the inner ear of the human being are what keeps us from falling over. Although “sense of balance” might seem hard to define, it is in fact a biological thing, and if I had time I would recount more interesting facts about the vestibular system.
In shrinking himself down to this microscopic size, Vernon aligns himself with his previous records that have attempted similar “Fantastic Voyage” moments, for instance with heating vents, radiators, hospital equipment, and even bathroom plumbing. But now here he is in his own private Proteus, looking for clues about observing the flight of these specks of calcium carbonate. Mark Vernon might be aiming to represent in sound something about this condition, or its effects, but the press release also claims he is doing something to disrupt time – or at any rate “dissolve” it. So far I’m reminded of the Swedish electronic drone maestro Jarl who often seems preoccupied with mental states and visual / audio perceptive mechanisms of the fragile human frame, but Jarl always uses this as a starting point for very disturbing, distressing episodes. Vernon’s Otoconia, conversely, is warm and welcoming, and you can happily enjoy this aesthetic experience without dreading any sudden manifestations of the unknown.

With its minimal pulsations and long-form mode, this is a fitting wreath to lay at the grave of Eliane Radigue. After hearing this one, I was still able to stand upright, but for how long?”

Ed Pinsent, Sound Projector, 21/07/2026