MAriam Rezaei

Vocals, turntables, theatre, films and champagne



Adam Denton

Frequency analytics, electronic negotiation



Mark Wardlaw


Intrepid noise maker, record soul shaker and lifetime fan of KA Jamaican Punch.

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A quasi-amorphous collective of sonic and cultural dissidents and anti-creatives. Weaponising the banality of liberal institutions, they use text and sound to construct crude folk-magick hexes against the bastions of reasonable culture



TOPH Collective

Lead by Mariam Rezaei, an open ensemble of musicians, currently soundtracking silent films, with support from Arts Council England.

Featuring musicians Mark Wardlaw, Jamie Stuart, Adam Denton, Ian Adams, Ant Macari, Dawn Bothwell, Anika Easy, Chris Bywater, Will Edmondes, Faye Macalman and John Pope.


Mariam Rezaei

Composer, Performer, DJ, AD of TOPH



award winning composer.

turntables, piano, electronics, vocals, instrumental..



resident at TOPH, former competitive turntablist. 






Composer, MD and sound designer for local, national and international theatre



soloist, with TOPHC, Swarm Front, MJ, Bradford Scratch Orchestra..

Mariam Rezaei (b.1984) is a composer, performer and improviser and works predominantly with the piano, voices, turntables and electronics.

Mariam is Artistic Director of TOPH, now based at Workplace Gallery in Gateshead. TOPH are a producing mixed arts space.  She is Artistic Director of The Old Police House (NOISESTRA and Ensemble) and Bradford Scratch Orchestra.


She completed and was awarded her Doctoral degree in the Philosophy of Composition For Turntable and Ensemble at Durham University in May 2016 and is a lecturer in Music Technology and Composition at Newcastle University.


In 2013, Mariam was awarded Best Newcomer 2012 Award at the Journal Culture Awards and in 2014, the ‘Enhancing Communities Award’ from Stonewall and Newcastle Pride, for her work directing LGBT community choir, Northern Proud Voices.  For the 2012 Cultural Olympiad, she composed for a 14 turntable ensemble of young people, NOISESTRA, to perform with Apartment House at Sage Gateshead, 2012 and Edinburgh 2013.  She was invited by Ilan Volkov as a guest improviser for the BBC Proms 47 2012, the John Cage Centenary Celebration and performed ‘Jig Hop’ with Kathryn Tickell and Folkestra for the BT River of Music Opening of the London Olympics 2012, Trafalgar Square.  


Notable instrumental commissions include Olavsfestdagene in Trondheim, for conductor Ilan Volkov, INSiiiDE, Tectonics Festival 2014, Tel Aviv, Israel, ANX, Tectonics Glasgow 2015 and Milk///,Tectonics Oslo 2016. ‘Stolen Voices’, a collaboration with Rebecca Collins and Johanna Linsley and BBC Radio 3 Free Thinking Festival 2017 broadcast ‘SEAR’ with new ensemble SWARMFRONT.  Mariam also worked with NOH Theatre, composing and performing live with Noh Theatre at Kings Place, May 2016. The Old Police House Ensemble and Bradford Scratch Orchestra have several local and national performances in preparation for 2018-19. All film performances have sold out and Mariam recently received a commission from Tilda Swinton to perform a live film score of ‘Metropolis’ at Glastonbury 2017 on main stage Pilton Palais Cinema. She was recently commissioned by Tectonics Mosaic/Cresc. Festival, Wiesbaden, and composed and performed with Ensemble Modern, TOP///.


Music Director credits in Theatre include ZENDEH’s ‘Flock’, ‘Cinema’ and ‘Transit’, Curious Monkey’s ‘Beats North’, Open Clasp’s ‘Jumping Puddles’ and ‘Don’t Forget The Birds’, Northern Stage’s ‘Here Is The News…’, ‘A Song For Ella Grey’, Live Theatre's ‘Your Aunt Fanny’ ‘From The Sky To Your Hands’, RnD at RSC’s ‘The Other Place’ with Simon Startin, Plan B’s dance show ‘CITIZEN’. Works currently touring include Dan Bye’s ‘Instruction For A Border Crossing’, Northern Stage ‘War Of The Worlds’, Unfolding Theatre’s interactive installation ‘The Multiverse Arcade’ and Commonwealth Theatre’s ‘Radical Acts’.



Mark Wardlaw



Started aged 13 making primitive tape-noise and playstation gabba. Later came influences from (and interventions within) black metal, hardcore punk, grime/dubstep, folk, and house. Steady but sporadic DJ practice, split between record collection showcasing, and creative digital chaos-mixes. Constant readiness to improvise and collaborate in any combination called upon. Did a bit of prison time and became obsessed with the policing of time, and the weaponisation of language. Got into shape note singing, self-taught rudimentary harmony, interest in spacialised performance developed. Fell in with the TOPH crowd, currently pursuing innovations in polythymic DJing, spontaneous and system-based lyric production, found texts, and folk/vernacular ensemble compositions.



Producing, Organising, Collaborating, Performing, Touring. Co-Director of TOPH