over 50 plunderphonic bootlegs & videos
over 50 plunderphonic bootlegs & videos
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Cloth Mother takes part in The Eclipse field 'TechNoetic Rites in the Eclipse Field of Consciousness' view the entire exhibition here
Cloth Mother takes part in The Eclipse field 'TechNoetic Rites in the Eclipse Field of Consciousness' view the entire exhibition here
Cloth Mother is the dark AV mashup project of Luciana Haill (Token Girl), a visual and audio artist based in Hastings and Saint Leonards. Working from sourced physical vinyl 1960s–90s 7" and 12" singles manipulated on a Vestax DJ turntable with software, she recombines vocal stems into collisions that neither source could produce alone. The joins are audible. That is the point - she is not a DJ or trying to please a crowd.
A pervasive cutup of sounds, enjoyable in moments, more often jarring with infantile risks, the themes interweave uncontrollably, presented unpolished, never finished, unmedicated, unfiltered and mockable.
Cloth Mother short films are part of The Eclipse Field August-September 2026 curated by Dr Lila Moore, you can view the entire exhibition here
12 tracks from the album 'Partially Blocked' have been played on Resonance FM (The London ear). Listening is encountering something half-remembered, not quite where it should be, present in the wrong context at the wrong time.
Token Girl / Luciana Haill, St Leonards, 2025–2026
music made by a visual artist, not a DJ
It's hard not to hear this involuntary inner sonic life; it almost runs continuously, combining sources, finding harmonics, rehearsing structures in spaces the conscious mind cannot access or close.
I love to listen to music.
The first audiovisual artworks 'Minder Games' and 'Moving Mansions' were exhibited online in the 'Infinite Self Pavilion' presented as part of The Wrong Biennale 2025–2026 curated by Dr Lila Moore. They were selected as they demonstrate the pavilion’s exploration of the evolving relationship between the Self and artificial intelligence. Since then 11 have been aired on Resonance FM by The London Ear show, the links to mixcloud archives of these are at the end of this page.
In march 2026 after my 4th 'no-fault' eviction in St Leonards I moved to another room in another large shared house.
I bought second hand on eBay the tool I was missing - a Vestax PDX2000 direct drive turntable, this can ultra-fine pitch shift to + - 50 any 33 or 45 rpm track
Pitch-shifted vinyl is the key mechanism, I found when I played familiar music in an uncanny register — recognisable but wrong, my present but displaced, a precise analogy for the emotional state it was made in and about. I find classical piano and old Hip Hop about the only music I can not predict ( eg use ) as a quiet foundation for considering new sonic assets for 'mashups'.
A limited edition album of 18 bootlegs / some also available as audio visual mashups made by pulling apart familiar recordings from 20th-century British and American culture and placing the pieces in homes they were never meant to inhabit. Vocal stems find their true meaning on unfamiliar instrumental beds. Poets read over music they would never have chosen. Theme tunes become elegies. The results are funny, then devastating, sometimes simultaneously.
The process began with vinyl. Not files. Not streams. Physical records bought over the last three years — the music of a 1970s British childhood, now handled again as objects, as tactile things with weight and temperature and the specific resistance of a stylus finding its groove. A direct-return deck capable of pitch-shifting from -10 to +10. Hands on the platter. The pitch dropping, rising, the familiar melody warping into something that no longer knows what it is. This is not DJing in the conventional sense and it is not music production in the conventional sense. It is closer to what a sculptor does with found material — applying physical pressure, feeling the resistance, discovering what the object wants to become.
The album draws on over twenty-seven years of practice as an interactive artist and VJ, working with consciousness, nostalgia, and lost histories. In 2025, for the first time, the artist placed herself inside the AI-generated visual worlds built around each track — directing her own surreal narrative from within a difficult domestic period. The work that emerged is autobiographical without being confessional, dark without being without humour.
A new phase of earworm-inspired creations began resolution in September 2025 - I won a vinyl album in Hastings' monthly jazz club 'The berth of the cool' raffle hosted by Ben Thompson. The LP was 'Betjeman's Banana Blush' featuring Sir John Betjeman reading various poems set to music by Jim Parker. I was immediately struck by his delivery of 'Working Girls' and my earworms jumped in delight for 24 hours, compelling me to compare how Ian Dury delivers his lyrics in 'Hit me with your rhythm stick', a tune my family owned and I had grown up. Initially, they worked well without sound collaging, but I had just bought a piece of software much simpler than Ableton Live, called DJ Studio to enable my first bootleg 'Minder Games' a detailed 4-layered obsession. I made a quick video mainly for YouTube without AI for 'Business stick' and submitted it to Ben Thompson, who is the curator and host of The London Ear. The response was warming and then I swiftly delved into Phillip Larkin, laughing along to his darkness revealed in mashups 'Hard Day's Aubade' and 'Gigolo toad'.
They made a lot of sense to me after I completed each one; they were not predetermined logically. The earworms enslaved me, and the only way to release each compulsion was to fix it, making a new mashup.
I realised I wasn't alone in imagined mashups and keeping them in mind for months or years when I met someone over Xmas who told me their idea was This is The End by the Doors playing with 'If i was a carpenter and you were a lady' by Bobby Derin ( a tune I had known as a cover in the 70s ), becoming 'End of a lady' listed at the bottom of this page.
‘Gigolo Toad’ placed Larkin’s endurance against Barrett’s disappearance and found their conversation: "you are still here, you chose the desk, but you understand the other door! ". Less complex was ‘Why’ confidently placed the Moody Blues’ cosmic evasion against Carly Simon and found that the demand had always been there, just more suppressed via an uplifting melody. What it said back: you have been the one asking the precise question in relationships with people who responded with grand gestures toward the infinite, ha ha. ‘Minder Games’ was nagging for months. My recombination of all 4 track stems suddenly collapsed Lennon’s transcendence, Chas and Dave’s domestic defeat, and Dennis Waterman’s desperate charm into a single room where I appear in the video. What it said back: the men in your life moved between these three registers, and none of them were asking about you. Painful, but also helpful.
Played on 'The London Ear ' Resonance FM full shows on Mixcloud (my tracks are credited as by Token Girl before renaming as 'Cloth Mother')
May 21st 2026 https://www.mixcloud.com/Resonance/the-london-ear-21-may-2026-gaza/
April 2nd 2026 https://www.mixcloud.com/Resonance/the-london-ear-2-april-2026-tazartes/
March 19th 2026 https://www.mixcloud.com/Resonance/the-london-ear-19-march-2026-coyne/
March 12th 2026 https://www.mixcloud.com/Resonance/the-london-ear-12-march-2026-iran/
January 29th 2026 https://www.mixcloud.com/Resonance/the-london-ear-29-january-2026-ish/
December 11th 2025 https://www.mixcloud.com/Resonance/the-london-ear-11-december-2025-flock/
November 27th 2025 https://www.mixcloud.com/Resonance/the-london-ear-27-november-2025-rosalia/
October 23rd 2025 https://www.mixcloud.com/Resonance/the-london-ear-23-october-2025-cbm/
'Insanity is so passe' aired on The London Ear, March 19th on Resonance FM
www.mixcloud.com/Resonance/the-london-ear-19-march-2026-coyne/
New mashups are first heard unexpectedly - they can be transmuted in real-time by the echoes of my heeled shoes walking along a wet concrete corridor, the resonance of a toilet flush, the fish tank filter pump helps replay voices almost perfectly, without being able to adjust the length of their loop. Anachronistic and immediate, plunderphonics slowly cooked through ambient noise.
'The fish tank pump heard it first'
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