After this summer's sell out at The Old Church, we're back to another of Stoke Newington's esteemed venues: The Raleigh Chapel. A still‑functioning, Victorian-era church, the chapel's intimate size lends itself to deep listening - and for this one we’re going deeeep. Soft furnishings kindly borrowed from our friends over at the Free Movements parties will help transform the chapel into a warm, low‑lit environment designed for sinking in. El ambietón vuelve with a special performance from Colombian Drone Mafia. With his standout release 'Memoria', Bogotán DJ and sound artist Nyksan introduced the world to CDF, using unsettling low-end vibrations and evocative field recordings to build a singular, widescreen narrative. Since then, he's held down a year-long residency at Spacetalk, culminating in the release Sueño en Flor (ST04), which draws in friends and confidants from across the Latam diaspora & beyond. For Raleigh Chapel, he’ll present a special deep‑listening set with the same irresistable, uneasy gravitational pull. Ross McGregor presents Ùrlar/Ground, a new compositional work that deconstructs the Great Highland Bagpipe. A Scottish electronic composer and artist based in London, McGregor draws on post‑naturalism and sound’s capacity to situate, interrupt and bring listeners together; his recent performances and compositions have been shaped by time spent in the Hebrides, where landscape and instrument meet in unexpected ways. Ùrlar/Ground investigates the bagpipe’s tonality outside its traditional frame, exploring making as a bringing‑forth rather than an imposition of form — a poiesis from the instrument’s unmaking. Flute Machines marks Lydia Phillips’ first solo London performance. Usually found on horn and harmoniums across the North West (The White Hotel, Peste, Metal, Bolton Socialist Club, to name but a few of the city's most esteemed establishments) she arrives in the big smoke with a new body of work developed for The Commission for New & Old Art’s production of Bow Down. Working with engineer Agnes Cameron and cast member Vasyl Ratmansky, Lydia helped create two new synthesisers — the Flute Machine and the Haute Boite — which joined the woodwind section in Harrison Birtwistle’s score. Her newly‑learnt acoustic flute, now a close collaborator, threads through this further inquiry into the instruments’ possibilities. Three standout performances, carried by the room’s natural warmth. Come see out the cold nights with us.