The development of planetary radio practices and systems also brought the insight that Earth is continually bathed in radio signals emanating from points across the universe, from 'nearby’ within our solar system or from vast distances in space and time. Departing from Velimir Khlebnikov’s poetic observation in 1920 that “even starlight is a wireless signal”, the NRRF collective eavesdrops on the radiophony coming our way, and encounters fast radio bursts, long waves, and even the loneliest wave of all.

NRRF is an intermittent collaborative effort to make unlicensed neighborhood radio art. Earlier projects include a series of clandestine FM broadcasts in Chicago, Montréal and beyond with a rotating group of collaborators. Since 2012 NRRF features Jonny Farrow, Anna Friz, Stephen Germana, Jeff Kolar, and Peter Speer. It’s live radio expanded and improvised from various geographical locations, with the current group collaborating from Vermont, Florida, North Carolina, Chicago and Santa Cruz. The core group of performers play everything from traditional instruments to home built electronics, sample wildly, speculate broadly, and have been known to sing.

https://www.jonnyfarrow.net/

http://nicelittlestatic.com/

https://www.stephengermana.com/

https://jeffkolar.us/

https://peterspeer.bandcamp.com/

https://soundcloud.com/nrrf-radio

Wave Machine translates real-time sea wave data, streamed from a marine observation buoy, into a continually evolving electronic soundscape. 

A network of buoys dotted around the UK coast relay data to a freely accessible resource at channelcoast.org.

Using Pure Data, the measurements such as wave height, speed and wave direction are programmed to control the parameters of sound - pitch, timbre, duration and position within the stereo field. Sea temperature is marked by a single modulating tone, with degrees Celsius transformed into oscillations per second. The buoy’s location sets the initial pitch giving each buoy its own distinct sound signature.

Craig Gell is a composer and artist based in Folkestone. His recent work has been informed by the forces of nature and the natural environment.

Wave Machine(2020) has exhibited at Folkestone and Ramsgate sound festivals, using data from their local buoys. 

Craig also composes music and scores including the animated short films; Quarantine (2019) which aired on BBC4 and won Best Animated Short Film at London Short Film Festival, and Red Rover (2020) which was in part composed during a residency at the former home of Imogen Holst in Aldeburgh, care of the Britten-Pears Foundation and Wild Plum Arts.

http://www.craiggellmusic.com

The World Organ, a installation created by musician, composer and sound artist Giles Perring, is a system of tubes that listens to the world and relays what it hears as a live audio stream at  http://www.worldorgan.com. It’s part of a wider cross-media approach to the idea of landscape. The World Organ portrays its surroundings sonically. An acoustic phenomenon that the Organ is designed to create, weaves a musical layer into the sounds of the natural world. The World Organ is installed at the Sound of Jura Studio at Knockrome, on Jura, overlooking Lowlandmans Bay.

Giles Perring is a musician, record producer, sound sculptor and cross media artist. In 1983 he was a founder member of the sonic sculpture collective Echo City. His many collaborations include work with Fad Gadget, Albert Kuvesin & Yat Kha, Kevin Godley, Alan Wilkinson, John Cayley, Melanie Pappenheim and Ivor Kallin. His own solo projects, aside from a successful catalogue as a record producer and TV/Film composer, includes his series of performances with live telephony, 'The Exchange'. It featured in Glasgow's Sonica in 2013 and he streamed it worldwide in Sept 2019 for Charts Argyll & The Isles. He lives and works on the Isle of Jura where he maintains a working croft, a music studio and a creative space.

@soundofjura
@xamusiclabel

http://exchangeart.co.uk/wp/exchange/

https://www.youtube.com/watch?v=R-e-qjJQ0CY&feature=youtu.be

https://www.youtube.com/watch?v=oWEP7S5sxWE&feature=youtu.be

Worker-artists convene a hive broadcast of indiscriminately gathered sound-pollen, transmitting codified messages to kindred folk. 

Each week a potent gang of sound artists are at play, exploring whatever is on their minds. Style guide: Anything goes

Knut Aufermann & Sarah Washington (Ürzig) http://mobile-radio.net/


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de/


Anna Friz (Santa Cruz) http://nicelittlestatic.com/ 


Ralf Schreiber (Cologne) http://ralfschreiber.com/

Live broadcast 9th April 2020 on Resonance Extra, Soundart Radio, WGXC, Wave Farm and π-node. Later on Radio ARA, JET FM &Radio Panik.
 Produced by Mobile Radio with support from π-node.

This is the first in the series of field recordings / soundscape pieces from the field recordist and sound artist Toni Dimitrov, sketching a city. The sketches for this piece are recorded in Athens during his stay for the performance on Electric Nights festival in spring 2018. The sketches are depicting venues, markets, museums, parks and various other locations of the city.

Toni Dimitrov is a multimedia artist, cultural explorer, radio activist working in the field of radio and media for 20 years, philosopher, communicologist and passionate mountain climber, but also sound designer, graphic designer, DJ, organizer, label owner, based in Skopje, Macedonia. He is doing various projects related to sound/art,radio, field recordings, he is curating the labels post global recordings andélan vital recordings, but also various sound/art events. His radio programs broadcasts on music radio Kanal 103 and are dedicated to contemporary electronic music, soundscape, field recordings but also discussing various socio/cultural/political topics. At the moment working on projects related to political analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

1. Hannah Kemp Welch - Amateur Radio

This work investigates the social possibilities of audio technologies, and their histories. Amateur radio is a technical hobby primarily undertaken by men of retirement age – it’s sometimes described as a dying hobby. It allows users to create vast new networks; some describe it as a lifeline for men who would otherwise be socially isolated.  

Hannah Kemp-Welch has a socially engaged practice that is concerned with listening. Working with diverse constituencies to record conversations, stories and local histories,works emerge through the voices of participants, layered with environmental and imagined sounds. Hannah makes works for broadcast, installation and performance, using documentation such as zines to keep open possibilities for collective action and social change. Hannah has worked with communities across the UK, and shown works in arts spaces including Middlesbrough Institute of Modern Art, Nottingham Contemporary, Tate Modern, Barbican and Flat Time House.

sound-art-hannah.com

2. Elliot Yair Hernandez - Electrical Commotion XT

At the present time we are involved in a world where the electricity is essential for the functioning of most of the things. Even in the way how our brain works which is based on chemical discharges that give rise to electric currents that allow the communication between brain cells. Hence, I can say that all of us are part of electricity and it is part of us. That’s why this electroacoustic piece wants to take the public to an abstract space where the experience of the daily and transformed sounds converge, creating a narrative where we are all part of an electrical shock.

Elliot Yair Hernández López  studied sound art with Manuel Rocha Iturbide, multichannel electroacoustic composition with Edmar Soria and electronic art with Hugo Solis. As a digital artist, he seeks to experiment with different objects and disciplines to create immersive, reflective and abstract pieces with the aim of creating sensations and emotions for the public through audiovisual elements.

3. Clarinda Tse & Craig Hunter - How many mushrooms

This piece live journals a mushroom foraging experience in September 2020 across the urban nature of Glasgow. The random encounters with mushrooms inspired us to discover abundance in environments around us, during unprecedented times of longing.
Underground fungal networks spread unseen across our planet, regulating our ecosystem, digesting and processing, antagonistic, symbiotic, parasitic. Neither plant nor animal, they are a mysterious bunch – dichotomised into mushroom/toadstool, tasty/poisonous, kicked or picked, when the truth is more complex. Layered with conversations, humming, footsteps and nature field recording, the piece unfolds a humorous and livening passing of time, exploring contamination as collaboration.

Sharing a home, Clarinda Tse and Craig Hunter are in a constant state of collaboration. Both interested in foraging, audio recordings have been anew-grown limb to process their experience and share with others. While physical hosting is not possible, sound work has been the space where they find new life.

Clarinda Tse is an artist, a listener, a movement and community practitioner. Her creative practice explores (in)humanity with a focus on perforation in soft-edged boundaries and their transitional qualities.  Craig Hunter is a journalist and radio enthusiast.

 clarindatse.com

4. Fabian Zuniga - Room tone 2

Soundscapes recorded with the mindset of showcasing a perspective of reality. The idea is to create an awareness of the soundscapes that exists, the combinations of worlds, the movements, the rhythms, the tempos, the sensations and energy that the sounds around us create, the randomness, the consciousness and subconsciousness in sound creating and listening. How conscious acts from an outsider perspective, form part of a subconscious whole. These recordings are reminders of what surround us, what influences us, what shapes us, what we are part of.

Born and raised in Costa Rica, with a degree in Film and Television. Even though I work in several aspects of the audiovisual production, sound it’s my main field. In 2017 I did a postgraduate in arts in sound in Belgium called EPAS. During EPAS I discovered new ways of listening and viewpoints towards sound, as well as sound art. The last couple of years, I have been mostly interested and documenting soundscapes and its role in our sound world/life.
Documentary, randomness, surrealism, consciousness and subconsciousness, narrative sound would describe my recent approach.

5. Chelidon Frame - (For) A Morning Blues

A soundscape composition realized from field recordings gathered and processed during the hardest day of lockdown, when the city of Milan, Italy, was forced to pause and the overall sonic environment changed radically.

Chelidon Frame is an experimental electronic music project that mainly works with field recordings, radio interferences, guitars and processed sounds. His installations are experienced-based and suggest a dialogue between the location (both virtual and physical) and the sounds proposed, aiming to deliver a message in the simpler yet most effective way. The use of code, data analysis and data-driven sounds, allow information to be experienced anew. In his studio works and live sets different layers of sounds - guitars, synthesizers and custom-made instruments - piles up creating unexpected new soundscapes.

https://chelidonframe.site/
https://chelidonframe.bandcamp.com/

On April 27th, 2020, I asked my cousin Neil in Dumfries to record himself describing the sounds he heard around him. Neil sent the recording to Tom, who then had twenty four hours to make a sound recording based on Neil's description. The resulting sound composition was sent to Fionn,who had twenty four hours to recorded themselves describing what they heard, and so on…

Solidarity Stove was commissioned by the Stove Network in Dumfries as part of their Homegrown Micro-grant scheme. The participants were: Neil Sturrock, Fionn Duffy, Fritz Welch, Benjamin A Owen, and Jenny Salmean.

David Moré relocated from Richmond, Virginia to Glasgow in October2019. The following month, his work as an art handler took him elsewhere, and he didn’t return till the end of February 2020. He then found a job at a small restaurant, which didn’t last long, and has since been working unsociable hours stocking shelves at a large grocery store. 

Dauwtrip is a Belgian collective ofsiblings, organizing night life events. The name means a walk earlyin the morning with a focus on experience through the senses.They collaborated on new audio work, looking to create alternatedimensions in which to hover around. To help crack the dawn, Dauwtrippresent ‘CON2RS’.

Credits to Pepijn, Maud and Aaron Gyssels and Tijn Driessen.

http://dauwtrip.com

https://www.facebook.com/Dauwtrip-2156135337845933

http://www.tafeltafel.com

The Decline Of Heavy Industry is an electroacoustic/documentary piece exploring the experiences of growing up inactive pit villages of Stirlingshire and surrounding areas. Combining interviews, archived recordings, field recordings and other materials, the piece examines the effects of colliery closures and strikes on these villages and towns, and how in turn this has affected the peoples' relationship to their hometown.

James Iball is a composer, producer, sound artist and DJ based in Glasgow, working in a variety of mediums both electronic and acoustic/orchestral. With our recent locked-down state having been a perfect time for radio to flourish as a creative format, James' recent projects have included a generative environment-based piece for radio broadcast,contributions to Nasim Luczaj's series scoring Daniel Defoe's 1722 novel 'A Journal of the Plague Year', and a genre-bending show on Subcity Radio.

Sylvia Wynter’s Maskarade (1973), uses the concept of “Reverse Time” as way of interpreting “carnival-time” and the performance of the world turned upside down. Up becomes down and forward becomes backward; the procession moving in opposing time. 

Using an autobiographical approach, OHCE is a sonic procession. Field recordings and choreographic directions situate the listener within the liminal position between two places, Guyana and Scotland; using sound, memory, composition and movement to meet an echo backwards. 

Ashanti Harris is a multi-disciplinary visual artist and researcher working with dance, performance and movement, alongside sculpture, film, sound and installation. With a focus on re-contextualising historical narratives, Ashanti’s work explores the movement of people, ideas and things and the wider social implications of these movements. Her recent research subjects have included dance of the African and Caribbean diaspora in Scotland and Speculating the historical legacies of Guyanese women in Scotland in the 18th and 19th centuries.

As part of her creative practice, she is co-director for Project X – a creative education programme, platforming dance and performance from the African and Caribbean diaspora; and works collaboratively as part of the collective Glasgow Open Dance School (G.O.D.S) – facilitating experimental movement workshops and research groups.

Recent solo shows include: The Skeleton of a Name, Transmission Gallery, Glasgow (2019); Second Site, Civic Room, Glasgow (2019). Recent group shows include: Being Present, OGR, Torino (2020); In The Open, The Common Guild, Glasgow (2020); Alchemy Film Festival, Hawick (2020); Pre-Ramble, David Dale, Glasgow (2020); Walking Through the Shadows Eyes Open, SUBSOLO Laboratório de Arte, Sao Paolo, (2019); BLIP! as part of Annuale 2019, Broughton Place, Edinburgh, (2019); As of Yet, Many Studios, Glasgow (2019); Just Start Here, The Anatomy Rooms, Aberdeen (2019); Festival of the Not, Circa Projects, Newcastle (2019)

Through a series of binaural recordings, interviews and musical composition, Merrick explores the infectious energy of Walton Pier in North Essex, England, and its hidden sounds; including those of the people, the place and even the electromagnetic fields produced by the machines. Composed of three movements, the piece is based upon the architecture of the place, beginning in the bustling arcade, then moving into the cacophonous fairground and finishing above the water at the end of the pier itself.

I use field recordings, circuit bending and synthesis to create experiences which explore the act of play. Using lo-fi technologies I transform a space or object, encouraging the audience to become a curious performer and embrace play through interactivity, improvisation and collaboration. My work materialises as playful interactive sculptures, transportive soundscapes and empowering educational projects. http://www.frazermerrick.com

 2.Fabian Zuniga - Taco

Soundscapes recorded with the mindset of showcasing a perspective of reality. These recordings are reminders of what surround us, what influences us, what shapes us, what we are part of.

Born and raised in Costa Rica, with a degree in Film and Television. Even though I work in several aspects of the audiovisual production, sound it’s my main field. In 2017 I did a postgraduate in arts in sound in Belgium called EPAS. During EPAS I discovered new ways of listening and viewpoints towards sound, as well as sound art. The last couple of years, I have been mostly interested and documenting soundscapes and its role in our sound world/life.
Documentary, randomness, surrealism, consciousness and subconsciousness, narrative sound would describe my recent approach.

This work especially made for Radiophrenia. Result of a transformation from a sculpture about type, typography, language alchemy ,sound and pronunciation of groups of type-characters.

Jan Van Den Dobbelsteen is a Eindhoven The Netherlands based interdisciplinary artist who has exhibited,curated programs and exhibitions, lectured and performed internationally. He is deeply involved with both acoustic and visual media.Publishing on his record and book label Cosmic Volume. http://www.iae.nl/users/jada

These two binaural soundscapes are the first and second recordings in a series of site-specific investigations into the sonic properties of late capitalism. The first transposes the myth of Odysseus and the Sirens onto the River Lea in East London, with the listeners' hands tied to the mast of a boat that's rowed through the Olympic Park and into Westfield shopping centre. The second transposes the myth of Odysseus and Nausika onto processes of migration from the City to the Kent Coast. The accompanying texts (edited versions of longer essays) are read or projected live alongside the audio works.

 Mike Brooks is a sound artist and musician currently based in London. His work focuses on the politics of listening – in particular the sonic properties and processes of late capitalism- and has taken the form of sound walks, workshops, field recordings, readings and performances. He is a member of the artist group Common Study.

 https://commonstudy.co.uk/?post=mike-brooks

This piece is inspired by early electronic music, primarily the work of Tod Dockstader, and the retrofuturism of new towns built post WW2 (I lived in Cumbernauld as a teenager and my family still live there). 

Helena Celle is a former audio engineer and Scottish Album of the Year Award shortlisted audio producer, who currently produces an hour or more of original music broadcasts distributed every month via https://www.patreon.com/outletarchive

BxNT, a workshop group devoted to improvisation, grew out of an avant-garde music course run by Roger Thomas at the Bishopsgate Institute, 2013. The group subsequently met monthly in a recording studio above the Cockpit Theatre - a room where wires tangled between electronic sound equipment, bits of plastic and various other non-instruments. Fast forward five years and the ‘current situation’ precipitated the possibility of new explorations. Lockdown Symphony developed from live sound made at home whilst being broadcast to each other across Zoom, individually recorded and edited by Olie Griffin and then re-mixed for transmission over the airwaves.

 MANIFESTO

One of the many attractions of BxNT is the list of things it doesn’t need in order to function. It doesn’t need a fixed membership - no participant has a designated musical role and it doesn’t need trained musicians. It doesn’t need a rehearsal schedule. It doesn’t need to meet regularly and it doesn’t need fixed instrumentation – it is at least partly defined by the capabilities of whatever instruments are available (varying the instrumental resources at each session has become an established strategy for keeping the group’s music in a state of refreshment). Roger Thomas  

 BxNT (Bishopsgate Experimental NoiseTheatre) is Roger Thomas, Sumit Paul–Choudhury, Rachel Cattle, Olie Griffin, Kevin Hicks, Georgina Walker.

 http://bxnt.org.uk/

Three members of BellArtLabs have been recording river sounds at their respective locations: Tony Scott exploring Seaton Burn (Northumberland); Chris Mizsak at Denver Sluice on the River Great Ouse (Norfolk); and Tom Scott at the Thames Estuary (Essex). Four Rivers, encompasses notions of Deep Listening whereby the act of making becomes a ritual act of listening. When the recordings are processed, mixed and played, an auditory confluence occurs as the river becomes a vehicle of flow, containing traces of the past and present. The rivers sonic palette is flexible and flowing in rhythms,frequencies and intensities, which reflect the changing river flow.

BellArtLabs is an independent multidisciplinary art group whose aim is to foster collaboration between its artist members: Chris Mizsak, Tom Scott, Tony Scott and Colin Dewar. We create experimental, time-based art in moving image(digital video and analogue film), sound, text, installation and live performance. Concepts are developed through a process of individual and collaborative research. Thematically, our work explores the transient nature of time through landscapes and memory. Narrative stories are woven in to create artworks that are thought provoking and accessible.

http://bellartlabs.com/

https://www.facebook.com/bellartlabs/

1. Peter Eason Daniels - Cover Songs                                         

Yesterday by the Beatles has been credited as the most re-recorded and released song, by January 1986, 1,600 cover versions had been made. This is the sound of the actual cardboard cover of that single. Creating a document of the record itself.

Peter Eason Daniels is an Artist, Filmmaker and Musician. His practice concerns itself with ideas of preservation and permanence. Using photography, film and sound to create documents of temporal moments, actions and objects. http://www.petereasondaniels.com

2. Ilaria Boffa and P è n i nș o l a r, - 500 Hertz                                               

500 Hertz is a threshold quoted in 'Dusk Chorus' documentary below which an oil pipeline forces its sonic presence to the detriment of all the other natural voices set on that bandwidth.Respectful living-to-living & living-to-non living relationships refer to our ability to cohabit -scapes appreciating each and every subject/object, its identity and voice.

Ilaria Boffa is an Italian poet. She has published three poetry collections and she is one of theeight authors included in the North East American Association publication‘Writing in a Different Language’ Vol XL 2018.

P è n i nș o l a r, a classically trained multinstrumentalist and improvisational alchemist, has been navigating the musical floodwaters of our times for over two decades, sidestepping the clotting cobwebs & evershifting paradigm of artistic representation & dissemination in the data saturated age. One of the few Takemitsu/Morty Feldman indeterminates of this generation, he delves deeper into the mysteries of sonic source, and listening to his music feels like peering into the most remote corners of the macrocosm as he continues a career-long exploration of artist collaborations & sounds inherent copolymerization. https://linkt.ree/peninsolar

3. TreesOnComa - Wolfeinstein

Tribute to the Apple II computers. The entire piece was created using an Apple IIc and an Imagewritter printer.

TreesOnComa was born in 2004. The original idea was to create music using old computers and machines;using“collage“ and the juxtaposition of elements as the main techniques, playing aswell with the absurd and oneiric, turning nightmares into sound. The music of TreesOnComa is created by Dimas Gestas in Bogotá, Colombia.

4. Marjorie Van Halteren - Another Part of the forest

Composed/performed by Marjorie Van Halteren (voice, synth,recordings) with Ilaria Boffa (words and voice). 

Marjorie Van Halteren isa three-time, Peabody Award winning producer. Her productions in the UnitedStates include over a dozen original radio plays for WNYC’s The Radio Stage,audio poetry with NY IPS, and her own play “Paul and Not Paul,” which won a NFCB Golden Reel award.  Her WDR Köln höerspiel “Roadtrip” was shown atthe Whitney in New York. She relocated to France in the 90’s and made pieces for BBC R3’s Between the Ears, and directed her own play, “Present Progressive” with Lorelie King for BBC R4. In recent years she has turned to live performance of poetry-stories, as well as composing and performing sound for dance. http://www.electroacousticalpoeticalsociety.com

5. Rob Marriner - Aliens in Rawtenshall                       

The piece is based on field recordings from noise complaints and condenses the story of aliens going about their nightly business in Rawtenstall, Lancashire while a resident is struggling to sleep, and wraps it up in a radio-friendly 4-minute long balmcake of anxiety.  Based around field recordings made mostly at a single location, it discusses how context and noise level influence the way we perceive sound and how our perception of sounds can affect our physiological state, particularly when the sounds in question are made by aliens and disrupting our sleep.

6. Roberto D' Ugo Jr. - Objective Chance                        

Near the subway station, the encounter with the uncanny.  Latent meanings swirl on the sidewalk. The search for what is below or beyond the manifest reality.Repressed energy that emerges in waves, textures. I dissolve in foam, for a moment. Voice: Anna Carl Lucchese.

7. Sally Garner - Consistently Cheap                             

This short radio work is an experimental piece inspired by the internal struggle caused by spending money when you do not have much to spend. I wanted to use found sounds that were easy to acquire, and free for me to mix and create. As this is my first endeavor into radio art, I was truly inspired by the sounds intermingling and just let myself have fun experimenting with the medium.

Sally C. Garner is a visual artist based in Atlanta, Georgia, USA. Her work is currently centered around using recycled VHS tapes as textile installations that defend the beauty of memory distortions, a topic that is often feared instead of admired. Sally is a MFA candidate at the Georgia State University,starting her first year in grad school amid the COVID-19 pandemic. She likes to keep to herself anyways, so school is going well.  http://www.sallycgarner.com

1. Bedlam Suitcase - Nicosia

I will now present … the history of a hailstone that fell to earth in Cyprus in 2013. Mediterranean hailstones are (to me) unexpected; consequently they are colder and bigger and sting more than Irish ones. I always remember the flickering TV images of my youth of Irish peacekeeping troops trundling through the streets of Nicosia. In 2013 we were hosted by an Argentine chefthat came here to keep the peace. He served us wine and talked politics andsociety into the early hours. We crossed the checkpoint like any tourists,reverently. So this is the story of a hailstone, layered as an onion, and of a divided city. 

Written and read by Padraig Meehan. Music by Bedlam Suitcase, featuring Cathal Roach on sax.

Bedlam Suitcase are a group from Sligo, on Ireland’s north west coast. They initially formed from a monthly Arts/Cabaret event called The Steampunk Club, and staying true to the ethos of thos eperformances, mixes composed music with free improvisation and spoken word pieces.

The band comprises of Padraig Meehan, TomJamieson and Tara Baoth Mooney, and they have collaborated with other Sligo artists, and also with musicians remotely in the making of their debut album The Fourth Wall, released in February 2020.

 https://www.facebook.com/BedlamSuitcase/

 https://www.instagram.com/bedlamsuitcase/

 https://twitter.com/bedlamsuitcase

 2. Leonie Roessler - Lithuanian Summer Day       

My grandfather had Lithuanian nurse during the years before his death. Lena became part of our family and my son and I spent two summers with her largely self-sustaining family in the countryside. Lena always says, “It’s a hard life but it’s a good life.” I got water from the well every morning and night. You can hear the repeating pattern of this in the piece, and with it rhythmic patterns of chicken sounds, transforming into children playing, and then transforming further into a rhythmic block of the children swimming in a pond in the yard.

Leonie captures her environment through field recordings, which she uses for radio pieces, sound installations, and compositions for soloists and ensembles. She had recent residencies at New Media Society and Limited Access Festival (Iran), Forum Wallis (Switzerland), and The Story of Space Festival (India), and Berlin Circus Biennale (Germany), and Altes Finanzamt (Germany). She is a core artist at Studio LOOS in The Hague and runs the radio branch of LOOS, Radio LOOS. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran) and have been physically archived in the British Library

3. Ivor Kallin - Sangs of Bute, Eh? R09_102       

From a collection of 51 improvised 'songs' on the piano, (which I can't play). They were recorded in a cottage on Bute, which just happened to have a piano, and I'd brought my voice with me.

4.  Sofia Saldanha - Waking up

The time you are not awake, you are not asleep; you transition from dream to reality, reality to dream until you finally wake up.

Sofia Saldanha is an award winning audio producer. She started her radio adventure in Portugal at Rádio Universitária do Minho, has a masters degree in Radio and is a graduate of the Salt Institute for Documentary Studies. Sofia is part of In The Dark, anon-profit organization that presents audio documentaries from around the world to live audiences.

5. Nichola Scrutton - Post Industrial Broadcast 2

Post-Industrial Broadcast #2 is the second in a series of studio works (Post-Industrial Broadcasts) which evoke and explore fictional places – abstract landscapes in a state of transformation. This composition draws from various source sound materials including a range of field recordings, found sounds, breath and voice.

Nichola Scrutton is an award-winning composer and improviser, vocalist, performer, sound artist and facilitator who works across a range of mediums including visual. She has extensive experience as a collaborator in interdisciplinary and participatory contexts, and also works with Sonic Bothy inclusive music charity in the Ensemble and across various projects. Nichola was awarded a PhD from university of Glasgow for her portfolio Hearing Voices.

https://www.nicholascrutton.co.uk/
@NicholaScrutton
https://www.instagram.com/nic_scrutton/

6. RebeccaWilcox - Night Edge

A short poem, interfered with breath and an echoing shopping centre.

Rebecca Wilcox lives in Glasgow and works with writing, audio and performance, often using voice as a tool. She is interested in processes of apperception as they disturb our habits of attention.

“The Cloud-Chamber of Darkness Half-Hour” is a program that eerily presents recent works written for Harry Partch’s instruments by Harry Partch Instrumentarium Director and Curator Charles Corey, adapted viola specialist Luke Fitzpatrick, Kerrith Livengood,and Ralph Lewis. Lewis, serving as narrator, guides listeners through the macabre music and its treacherous night time scenes, beginning with Fitzpatrick’s TheTomb, Corey’s Come to Dust, Lewis’s Nightpartches, Livengood’s Frog Pond Translations, and more. While Lewis may be guiding the listeners, he himself appears to be lost, and may need help emerging from this darkness. (With special cackles from Michaela Wright and Cheryl Lewis).

Harry Partch was an american composer, music theorist, and instrument builder known for works such as U.S. Highball, Barstow, and his book Genesis of a Music. Information about his music, just intonation theories, and instruments, visit https://www.harrypartch.com/.Charles Corey, the Harry Partch Instrumentarium Director and Curator, oversees productions of Partch’s work in Seattle and elsewhere, with violinist and composer Luke Fitzpatrick on adapted viola. Composer Kerrith Livengood often combines groove, humor, lyricism and noise in her works, especially in her collaborations with poet Jennifer L. Knox. Ralph Lewis adores exploring transmission art and microtonality.

https://www.harrypartch.com/

http://www.charlescorey.com

http://www.lukefitzpatrick.net

http://kerrithlivengood.com/

http://www.ralphlewismusic.com 

For Marcus Schmickler and Luke Fowler by Jean Luc Guionnet.

It was first premiered at Kolnisher Kunstverein Germany in 2015.
Adjorned bricks is a quadraphonic work for electronic sources and voice.
Based on a text score by Jean Luc GUIONNET.
Luke Fowler uses Voice, organic oscillators and Serge modular synthesiser.
Marcus Schmickler uses voice and digital synthesis.

This recording has been down-mixed especially for Radiophrenia.

https://luke-fowler.com/

https://wavefarm.org/wf/archive/jxm1yr

https://archive.org/details/XanthamGun
 
https://generationsunlimited.bandcamp.com/album/twenty-seven-years-later

Worker-artists convene a hive broadcast of indiscriminately gathered sound-pollen, transmitting codified messages to kindred folk.

Each week a potent gang of sound artists are at play, exploring whatever is on their minds. Style guide: Anything goes.

Knut Aufermann & Sarah Washington (Ürzig) http://mobile-radio.net/


Frauke Berg (Düsseldorf) http://www.fraukeberg.de/ 


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de/


DinahBird (Paris) https://bird-renoult.net/dinah-bird/

dieb13 & Billy Roisz (Vienna) http://dieb13.klingt.org/ & http://billyroisz.klingt.org/


Anna Friz (Santa Cruz) http://nicelittlestatic.com/

Ralf Schreiber (Cologne) http://ralfschreiber.com/

Live broadcast 16th April 2020 on Resonance Extra, Soundart Radio, WGXC, Wave Farm and π-node. Later on Radio ARA, JET FM& Radio Panik.
Produced by Mobile Radio with support from π-node.

This timethe sketches are recorded in Bucharest during his stay in Romania for field recordings residency in the Danube delta, in the summer of 2019. In the piece you can hear the recordings from the Bucharest streets, parks, the noise from the rain, fountains, etc., interweaving subtly, blurring the line between field recording and sound art.

Toni Dimitrov a multimedia artist, cultural explorer, radio activist working in the field of  adio and media for 20 years, philosopher, communicologist and passionate mountain climber, but also sound designer, graphic designer, DJ, organizer, label owner,based in Skopje, Macedonia. He is doing various projects related to sound/art,radio, field recordings, he is curating the labels post global recordings andélan vital recordings, but also various sound/art events. His radio programs broadcasts on music radio Kanal 103 and are dedicated to contemporaryelectronic music, soundscape, field recordings but also discussing various socio/cultural/political topics. At the moment working on projects related to political analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

1. Adam Pierce - Tennis Bleus

A composition created specifically for radio in late August and Early September 2020, Constructed using free audio software on a Macbook Pro: Electroacoustic Tools(CMPE Pack) designed by Joo Won Park (and sampling only original recordings)and Bill Orcutt's open source audio program, Cracked. Recorded to 1/4 inch tape.

Adam Pierce is a Detroit musician who has been innumerous ensembles, art rock bands, and most recently creating soundworks as a solo artist. His pieces have appeared in both Academic settings and non, museums, galleries, venues, basements, and a variety of other spaces.Constantly challenging himself to pursue the possibilities of sound in the everyday,  Pierce seeks a concrete music all his own.  https://adampierce.bandcamp.com/

2. The Great Indoors - Forever Moving Jar

The Great Indoors recorded State of You in the summer of 2019 and mixed it during the winter of 2019/20. They –Ged Kite and Barmy Owl - recorded and mixed State of You in remote pockets of West Yorkshire and West Cumbria - the landscapes serving a huge influence upon them and this. Kite and Owl recorded and mixed live improvisations to 4-track over several sessions- using various instruments, objects and voices - combined with field recordings and god-knows what from the other side.

https://gedandbarmy.bandcamp.com/releases

3. Leonie Roessler - Lithuanian Summer Day

My grandfather had Lithuanian nurse during the years before his death. Lena became part of our family and my son and I spent two summers with her largely self-sustaining family in the countryside. Lena always says, “It’s a hard life but it’s a good life.” I got water from the well every morning and night. You can hear the repeating pattern of this in the piece, and with it rhythmic patterns of chicken sounds, transforming into children playing, and then transforming further into a rhythmic block of the children swimming in a pond in the yard.

Leonie captures her environment through field recordings, which she uses for radio pieces, sound installations, and compositions for soloists and ensembles. She had recent residencies at New Media Society and Limited Access Festival (Iran), Forum Wallis (Switzerland), and The Story of Space Festival (India), and Berlin Circus Biennale (Germany), and Altes Finanzamt (Germany). She is a core artist at Studio LOOS in The Hague and runs the radio branch of LOOS, Radio LOOS. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran) and have been physically archived in the British Library

4. Amanda Brannin - birdcall

The words that I'm saying are very important. You want to pay attention to the words that I'm saying. I will keep saying the same things over and over until you stop listening. You continue to pay attention.

An artist currently residing in Austin, though different places while asleep. Sound for in-between spaces. 

https://soundcloud.com/amandabrannin

5. Johann Diedrick - Birds of Fedex

It is impossible to not notice how much more quiet the world has become during this time of global pandemic. With the reduction of human activity outside, the ambient noise floor around us has decreased and our sonic environment is less punctuated by the sounds of human activity (commuting, playing in parks,parties and nightlife) that we often associate with a thriving society. Many have welcomed this transition as a moment to hear more closely to our shared soundscape, as noises once impossible to hear over the loudness are now able to reveal themselves. Others find this silence a grim indication that these times are now ones of stillness, inactivity, and death. For me, I wanted to make field recordings of this moment, described by some as The Sudden Quiet, as a record of how our sonic environment has radically changed during this outbreak,as a way to remember what it was like to live in this time of crisis.

Johann Diedrick is an artist, engineer, and musician that makes installations,performances, and sculptures for exploring the world through our ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours,workshops, and open-source hardware/software. He is the founder of A Quiet Life, a sonic engineering and research studio that designs and builds audio-related software and hardware products for delightfully encountering our environment and each other. He is currently a 2020 Technology Artist-in-Residence at Pioneer Works and a recipient of a 2020 Brooklyn Arts Fund grant from the Brooklyn Arts Council.

http://www.johanndiedrick.com/

6. Ivor Kallin -Sangs of Bute, Eh? R09_92   

7. Craig Gell – Wave Machine (Radio  Edit)

Wave Machine translates real-time sea wave data, streamed from a marine observation buoy, into a continually evolving electronic soundscape. 

A network of buoys dotted around the UK coast relay data to a freely accessible resource at channelcoast.org.

Using Pure Data, the measurements such as wave height, speed and wave direction are programmed to control the parameters of sound - pitch, timbre, duration and position within the stereo field. Sea temperature is marked by a single modulating tone, with degrees Celsius transformed into oscillations per second. The buoy’s location sets the initial pitch giving each buoy its own distinct sound signature.

Craig Gell is a composer and artist based in Folkestone. His recent work has been informed by the forces of nature and the natural environment.

Wave Machine(2020) has exhibited at Folkestone and Ramsgate sound festivals, using data from their local buoys. 

Craig also composes music and scores including the animated short films; Quarantine (2019) which aired on BBC4 and won Best Animated Short Film at London Short Film Festival, and Red Rover (2020) which was in part composed during a residency at the former home of Imogen Holst in Aldeburgh, care of the Britten-Pears Foundation and Wild Plum Arts.

http://www.craiggellmusic.com

Caroline Profanter studied Computer Music and Electronic Media at the University of Music and Performing Arts in Vienna and holds a Master’s degree in Acousmatic Composition from the Conservatoire Royal de Mons in Belgium. She collects field recordings, combines them with electronics, and explores the grey zones in between concrete material and abstraction. Therefore she collects and classifies recorded sounds and relates them to instrumental sounds or generated sounds, from analog synthesizers and feedback-systems.

https://cprofanter.klingt.org/cprofanter/home.html

Musica per la radio is a series of concerts conceived for the radio and transmitted exclusively on the radio

In 1986 I was invited to set up a music development project with the cultural troupes of the Tigrayan Peoples Liberation Front or TPLF. Our brief was extremely vague….

We spent six months in the remote Kaza valley in Northern Ethiopia, working with the cultural troupes working to notate their music; arrange traditional Tigrayan music for modern electric instruments and to record and produce their work. 

In 2019 we returned to Tigray and met up with some of pour former students to find out what had happened to both the liberation struggle and the legacy of the Gureza music school.

 Cathy Lane is a composer, sound artist and academic. Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective.

https://cathylane.co.uk/

https://www.crisap.org/people/cathy-lane/

Across the abyss of time, unfinished tableaux are re-enacting sepia stories that have lost their meaning, without any promise of the return of hope.

Chin Li was an NHS clinical psychologist for many years, but is now focusing on writing, and also dabbling in other forms of creative expression such as audio work.

Tape Piece is part of a series of single-sound-source daydream pieces, where a solitary object or family of objects is repurposed to create an otherworldly soundscape. This work uses tape--masking, scotch, aluminum, packing, and duct--sometimes recognizable, and sometimes heavily processed. The familiar is juxtaposed with the fresh, and what starts out with unrolling and tearing quickly unravels as sounds evocative of gunfire, of bombs and explosions, and of Geiger counters suggesting the downfall of civilization. New creatures emerge throughout, each trying to find their place in a world that has come unglued.

Composer Kyle Vanderburg (b. 1986)grew up in Missouri where the Ozarks meet the Mississippi River valley. Raised on southern gospel and American hymnody, his music walks the line between eliciting nostalgia and devising innovative sonic worlds.  His electronic works often play with familiar sounds in new contexts; his acoustic works feature memorable melodies and a very fluid sense of time. He holds degrees from Drury University and the University of Oklahoma and has studied under Carlyle Sharpe, Marvin Lamb, Konstantinos Karathanasis, and Roland Barrett.He'd be delighted if you checked out KyleVanderburg.com.

 Gustavo Chab  - Awake con Clarinet

TreesOnComa - no me no me Know me

The Yard, The Room Upstairs (Still Life) is a tape work inspired by allegorical vanitas paintings. Aiming at a moving target, the piece explores the elusiveness of memory by alternating two thematically connected field recordings, each time with overdubs and treatments gradually replacing the original source.

Two memories are revisited alternately three times each. The piece starts out from two short scenes recorded on site: a yard sounded by crickets and a piano in a room. Banal yet charged with what is absent: other senses, inaudible sonic details, layers of emotion. These scenes are recreated three times: first with the original source, the second time with part of the source and the third time without the source.

Scene I: The Yard
Date: August 14, 2020, South-West Finland
Setting: An almost empty camping ground. A remnant of the welfare culture of decades past. A remote bay surrounded by forest, houses, cottages and sheds, peeling red paint. An overgrown playground and mini golf court half sunken into the soft ground covered with pine needles.

At dusk, walking across the yard. The air has a smokey quality and is filled with the rise and fall of the sounds of crickets. They are always at a distance, never near, stopping when you enter their field, then starting again a few moments after leaving it, like the wake of a boat swelling back into the sea. A mouse runs across the gravel and freezes motionless under your gaze. Faint movements in the surrounding trees in full dark green at the peak of late summer. The light scent of burning logs.

Revisit the memory of this moment over and over as it evades you, like the crickets, the wake.

Scene II: The Room Upstairs
Date: August 29, 2020, Southern Finland
Setting: A yellow house surrounded by fields. Windows in all but one direction. Afternoon sunlight. A rarely played piano in a large living room. A dishwasher humming in the adjoining kitchen. The presence of people downstairs felt but not heard. Amateur oil paintings adorning the walls. Portraits, landscapes and still lives, mostly. A book case filled to the ceiling with 70’s and 80’s bestsellers. A stuffed snake on a shelf, a cow hide rug, a hearing aid and batteries on a mahogany coffee table, a pair of large slippers. Another scene inhabited by the remnants of hobbies, leisure time, objects to fill out the measures of an afternoon that grows longer with each year.

Play along to the piano.

The piece contains samples of rehearsal recordings from another work in progress with Aino Juutilainen (cello), Johanna Kalliokulju (mezzo-soprano) and Villa Ruscica (harp).

Marja Ahti (b. 1981) is a Swedish-Finnish sound artist and composer working with field recordings, electronics, feedback, magnetic tape and digital treatments. Her work gravitates towards organic textures and intuitive tunings, assembling rough edged yet precise compositions, poetically narrative and rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active as a duo with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

http://www.marjaahti.com

At the end ofJun of 2019, a group of sound artists went on a 2 weeks trip to the distantvillage of Letea, at the Danube delta in Romania. The purpose was to record field recordings and soundscapes of this remote place and experiment with them.The forest, the wild horses, frogs, mosquitos, the boat trips, the Lipovean babushkas and the rich quietness of the Danube Delta were the true leitmotif ofour stay there. This is a small part of what we were listening to those days.

Toni Dimitrov a multimedia artist, cultural explorer, radio activist working in the field of radio and media for 20 years, philosopher, communicologist and passionate mountainclimber, but also sound designer, graphic designer, DJ, organizer, label owner,based in Skopje, Macedonia. He is doing various projects related to sound/art,radio, field recordings, he is curating the labelspost global recordings andélan vital recordings, but also various sound/art events. His radio programsbroadcasts on music radio Kanal 103 and are dedicated to contemporaryelectronic music, soundscape, field recordings but also discussing varioussocio/cultural/political topics. At the moment working on projects related topolitical analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

1.  Shortwave Collective - Receive-Transmit-Receive

Snippets of radio transmissions during times of social distancing – acompilation of CQ calls between amateurs, international stations, met reports,naval communications and continuous wave code. Our first collective sound pieceis the result of a collaborative experiment in true exquisite corpse form:Shortwave Collective members capture intriguing sounds, responding to oneanother's selections to create an audio snapshot sampling the global radiospectrum. A collaborative approach to audio production, valuing dialogue andexchange, testing new ideas in the creative use of radio.

Shortwave Collective is a new international, feminist artist group establishedin May 2020, interested in the creative use of shortwave radio. We meetregularly to discuss feminist approaches to amateur radio and the radiospectrum as artistic material, sharing resources, considering DIY approachesand inclusive structures. Shortwave Collective are: Alyssa Moxley, Brigitte Hart, Franchesca Casauay, Georgia Muenster, Hannah Kemp-Welch, Lisa Hall and Sasha Engelmann.

2. Gregory Kramer - Melting Neapolitan

Melting Neapolitan is a soundwork made from field recordings of three distinct ice cream trucks. For many people, the sounds ofice cream trucks are evocative of a time and place. These three ice cream truck sounds (representing strawberry, chocolate and vanilla flavors of Neapolitan ice cream) are processed to be distant and atmospheric, yet familiar.

Gregory Kramer is a multidisciplinary artist and musician working with sound and space. Taking inspiration from his archaeological curiosity of abandoned places, he seeks ghosts among the ruins and unearths evidence of forgotten histories through sound. He composes with field recordings, found materials,and electronics, sometimes extending into installations. His work is currently in AUDIOSPHERE, an exhibition at Museo Centro de Arte Reina Sofia and wasfeatured in Belgium’s Site Specific, Mexico’s SONOM International Sound Art Festival and Bali’s Setia Darma Museum of Masks and Puppetry. He has album releases on Taâlem, Pharmafabrik, Monotype Series, Impulsive Habitat, and SONMArchive.

http://www.gregorykramerstudio.com
https://www.instagram.com/gregorykramerstudio

 3. Misery Bacon - The Fat Within the Meat of Logic

As the world drifted into the pandemic, I boarded a plane to Bergen to start a new life. What promised to bea difficult year of readjustment, became a surreal one where the world was forced to readjust in unison. I began to explore new ways of working with sound as a solo artist for the first time. Walks into the mountains to record sounds equally familiar and foreign, edited together with found audio and live instrumentation. These works attempted to explore my anxieties, memories of the life left behind and imagining a new one I was yet to build.

Misery Bacon is a solo audio project by artist Luke Drozd, an artist, illustrator and musician based inBergen (Norway). His commercial illustration work takes a variety of forms,including screen printed posters, album and merchandise design for music. His writing, performance and sculpture practice has evolved through different collective projects including "spoken-weird" duo Reet Maff'l with musician Andy Abbott and co-founding the small-press cassette label Bloxham Tapes. Until March 2020, Luke was based in London (UK). Between 2010-18 heco-curated the living room project space 38b in Peckham, providing a platform for emerging artists to create new work.

http://lukedrozd.com/

https://bloxhamtapes.bandcamp.com/

4.     Ilaria Boffa - On the Move

Written and recorded in Morocco (MerzougaDesert) in 2019, ‘On the Move’ is a journey across cultures, languages andsounds, reflecting on the posthuman identity& predicament in this Anthropocene.

Born January 6 1972, Ilaria Boffa is anItalian poet. She has published three poetry collections and she is one of theeight authors included in the North East American Association publication‘Writing in a Different Language’ Vol XL 2018.

Over the last three years, she has been experimenting with field recording, blending her spoken words with sounds.

Her work can be found here:

http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/

https://soundcloud.com/ilaria_boffa

https://www.facebook.com/ilaria.boffa.IB

5.     Ivor Kallin - Sangs of Bute, Eh?  R09_0096

From a collection of 51 improvised 'songs' on the piano, (which I can't play). They were recorded in a cottage on Bute, which just happened to have a piano, and I'd brought my voice with me.

With a brick on the sustain pedal and liberal use of the open A string I was able to play cello and piano at the same time to improvise the core of this music and then add overdubs. The text comes from a Sierra Leonean Krio dictionary. I’m interested in the way we find meaning as much through misrecognition as recognition. When is the point at which nothing becomes something and when it does, does it stop being nothing?Thanks to Green Door Studio for helping me record and mix this.

Danny Pagarani is a musician and artist living and working in Glasgow

Building Instruments centres on the soundworld of an industrial workspace. In the piece, the building is imagined as an instrument; a resonant body which filters and transforms sounds of the outside world and produces its own distinct sonic language from within. The majority of the sounds in Building Instruments were captured using contact microphones attached to windows, walls and floors; the vibrations of birdsong, rain, and faraway crowds entwine with the internal murmurings of the building. 

Jack Vickridge is a visual artist based in Glasgow. 

http://www.jackvickridge.com

Christian Gosvig Olesen is a Lecturer in Film and Media Studies at the University of Amsterdam and Researcher at Utrecht University. His interests and expertise include the history and theory of audiovisual archives, digital methods for media historical research and practice-based approaches to film and media analysis. He has worked on several projects aimed at unlocking digitized audiovisual collections for scholars and artistic researchers in collaboration with the Eye Filmmuseum and the Netherlands Institute for Sound and Vision, and was previously invited as the inaugural scholar of the Eye Filmmuseum’s Artist and Scholar-in Residenc eprogram in 2018.

itinerairede.com

Adam Winnie -  Monologue Mixdown

Flom Sang (Flood Song) is a sound work that explores water and flooding; how it is lived with and felt; how it shapes futures, imaginations and relations between humans and environments. The work blends field recordings of the River Sokna (Norway) with the voices of students from Sokndal School and musical contributions from Sokndal Brass Band. Mixing the situated perspectives of communities with the sonic agency of water, the soundscape amplifies contexts and subjectivities that persist, play and re-imagine what it means to live with environmental change.

Matterlurgy is a collaborative practice by artists Helena Hunter and Mark Peter Wright (London, UK). Their work critically explores the intersections of art and ecology and involves collaborations with scientists, communities and technologists.Matterlurgy create soundworks,exhibitions and installations, performance, film and VR/AR that have been shownat Tate Modern, Gazelli Art House, Raven Row Gallery, Baltic Centre for Contemporary Art, ICA, The Showroom Gallery, Delfina Foundation, Middlesbrough Institute of Modern Art (UK), Bòlit Contemporary Art Centre, Girona (ES),Frontiers in Retreat, HIAP, Helsinki (FI) and Jøssingfjord Hydropower Station,Sokndal, (NO).

https://www.matterlurgy.net/

Jeff Gburek is a sound artist & composer who has incorporated radiophonic signals/noises and radio processing in his electro-acoustic works since 1993, when he recorded a series of live shortwave assemblages entitled Radio Wide World in Firenze, Italy. This transformative encounter with an earth-spanning signal system aired marginally: on WFMU and New Mexico’s Aetherfest, and eventually self-published in a 4 cd set in 2003. It was at this time he coined the phrase radiophonography to describe his particular style of field recording and DXing while traveling abroad. Radio Wide World would only be more widely heard in 2011 when younger Chicago-based pirate radio art enthusiasts invited him to present his work as a Radius episode # 11 (https://theradius.us/), which led to the first reviews of the project. In more recent times, his radio works have been disseminated via Wave Farm in NY and at scattered European art events. He has published for the last 3 years radio-phonographic works, musique concrete and  works via Radiophrenia Glasgow and has held artistic residencies in Indonesia, Berlin, Amsterdam and Brussels. He lives in Poznan currently.  

transparent-abelard.blogspot.com

Ivor Kallin - Sangs of Bute, eh?

Jose Postigo - Esquizofrenic

Miglietta Alessandro - Flow radio

Maria Bertomue Roldan - Pandemia

Alison Carlier & Amanda Loomes - Disorder

Mella Roger- Le Vrai Silence

Tokyo is a city in a continual state of performance, a panoply of lives compressed into a dense metropolis.Underneath all the glossy commerce, however, is the city’s strange and fascinating underbelly – a rich strata of human subcultures. Over one humid,woozy summer weekend James Greer and Neil Luck traverse the marginalia of Tokyo at night, negotiating its train lines, visiting deserted bubble-era ghost towns, underground jazz venues, salaryman drinking spots, and a tiny bar repurposed as a theatre. “We all emerge some hours later, baffled” is their disorienting mix of reconfigured field recordings and half remembered reflections.

Currently based in Tokyo, James Greer is a field recordist and composer whose work often responds to people and the built environment.

https://www.jamesagreer.com/

Neil Luck is a composer, performer, and director based in London. His music engages the physical and fallible nature oflive performance in multimedia contexts, and attempts to frame the act of musicmaking itself as something strange, useful, or spectacular in and of itself.

https://www.neilluck.com/

Terra Do Guacho is a soundscape composition created during the 2019 Somsocosmos residency in rural Brazil, and takes place on a600-hectare colonial era coffee plantation, that is home to the very rare and beautiful Guacho bird whose surreal call can be heard throughout the area. Terra do Guacho is made entirely of sounds and music recorded at the residency, it is a conversation between the natural world and the artists who come there to be inspired. By using soundscapes and music recorded from a distance, heard through layers of natural ambience it explores the dialogue between the artists and the natural world.

Andrew O’Connor is an independent radio producer, and sound artist based in Toronto. His work reflects an interest in sound, storytelling, and transmission, and explores these ideas through formal broadcast radio as well as installation art, sound design, and pirate radio.  Andrew’s work has been featured across the CBC Radio network, syndicated internationally aswell as featured in the Third Coast Filmless Festival at the Museum of Contemporary Art in Chicago and the UK International Radio Drama Festival.  Andrew currently hosts and produces a weekl  ypirate radio show called DISCO 3000 on his long running, clandestine radio project Parkdale Pirate Radio.   

"Bio-electricRadio" is conceived as an outdoor sound installation. The piece imagines a world where electronics and living plants have merged and hybridized into "living circuits." These circuits make sounds and broadcast them to the world using long antennas made of vines. The sound is made up of recordings of individual bees (honey bees, bumble bees, miners, leaf-cutters, and unidentified varieties) mixed with tones and sound artifacts from bio-electricsynthesizer modules (modules that use parts of the plant within their circuitry).

The piece explores ideas and research around the electro-chemical relationship between bees and plants. It delves into the "bioelectric" theories of Georges Lakhovsky (1869-1942), and it develops the artist's interests in radio,electronics, and bringing attention to phenomena that are typically invisible,or overlooked, within our environment.

Absolute Value of Noise is a sound artist from Vancouver. He creates radio, installations, network projects, performances, curatorial projects, and handmade CD editions.

http://absolutevalueofnoise.ca/

'Cobblestones and Kitchari' is a sound work about loss, grief, family and love. Writing began in January 2013, the month my father died and was completed in 2020. The work is presented as a continuous narrative exploring places and events from my life, through childhood, his illness and his unexpected death. Each of the works included are produced from sounds connected to my Dad, his immediate UK and extended Indian family. The individual sections are expressions of sonic memory, audio testimony and the shifts in the perceptions of those memories over time. .As well as being a portrait of my family, this work also explores transnationalism, and minority identity formation and is in many ways an ethnographic study through the prism of sound. This work is an exploration of the transitory points of listening and how they change and change us overtime.  Acts of listening and creating memory are in constant flux, not fixed. Making memory and identity formation is dynamic, non-generic and a labile process especially through traumatic times. It is the merging of spaces,places and objects, it is skewed repetition, its is voices unremembered,fragile and moving, timbres rather than words, one sided conversation, echoes and the liminal intersections of dreams, perception, reality and emotion, it is not just one song.  These memories coalesce around words, move across worlds and drift as people, either absent or present, adding to the layers we accrue over time. They become the threads in the fabric of who we are and the practice of our everyday lives. Movements, re-tellings, gestures, and their concomitant sounds both recorded and transient, rest in these liminal spaces,and maybe that's where this should be heard. 

https://paulnataraj.bandcamp.com/

This tape is a carefully arranged collection of radio highlights, released in celebration of two years of our show, Radio Limbo.

Featuring peculiar dialogue, sketches and sound design plundered from across the airwaves, and re-purposed. The clips are woven together cinematically, with new, otherworldly music, and our own sonic branding.

"24 hours in Radio Limbo"holds close the most endearing traits of radio production and shines a flickering light on the contrived absurdity of much of mainstream radio’s output. Leaving out much of the musical element, you can expect a concentrate flow of unhinged cut and paste material, across themes of space, sound,creatures and the occult.

Radio Limbo consists of Pete Hazell & Sean Lee, who together run Limbo Tapes, a cassette label based in Bristol. They've put out eight releases since 2017, with a growing audience for their collectable compilations.

The focus has always been on representing fringe music, that feeds off of popular underground sounds whilst maintaining their own mysterious interpretations of it.

The same can be said of Radio Limbo,which is delivered as a specialist music show, hosted by Pete Hazell, featuring signature branding and moments of unpredictable, amusing and dramatic scenes.

Hazell & Lee continue to evolve their collaborations, with new material on the way...

Soundcloud.com/limbotapes

limbotapes.bandcamp.com

facebook.com/limbotapes

Worker-artists convene a hive broadcast of indiscriminately gatheredsound-pollen, transmitting codified messages to kindred folk. 

Each week a potent gang of sound artists are at play, exploringwhatever is on their minds. Style guide: Anything goes.

Knut Aufermann & Sarah Washington (Ürzig) http://www.mobile-radio.net


Xentos Fray Bentos (Broughton) http://www.discogs.com/artist/xentos


Frauke Berg (Düsseldorf) http://www.fraukeberg.de 


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de


DinahBird (Paris) http://www.bird-renoult.net/dinah-bird 


dieb13 & Billy Roisz (Vienna) http://dieb13.klingt.org & http://billyroisz.klingt.org


Anna Friz (Santa Cruz) http://nicelittlestatic.com 


Ralf Schreiber (Cologne) http://www.ralfschreiber.com


Live broadcast 23rd April 2020 on Resonance Extra, Soundart Radio,WGXC, Wave Farm & π-node. Later on Radio ARA, JET FM & Radio Panik.

Produced by Mobile Radio with support from π-node.

Magneto Mori: Kilfinane is an exploration of tape recording as a form of memory storage. In this iteration the location is the Irish mountain town of Kilfinane. Using a portable reel to reel tape recorder sounds from around the town were recorded onto the first side of the tape over a two day period – dripping rain, creaky gates, car mechanics, drainpipes, shops, church bells, refrigerator cabinets, wind blowing through the trees, passing traffic,etc. were just some of the sounds encountered.

On the second side were compiled voices of Kilfinane – extracts from the personal radio archives of Diarmuid McIntyre and Grey Heron Media that date back as far as twenty years or more. The recordings selected consisted mostly of local history, coverage of community events, news stories of local interest and interviews with a variety of Kilfinane residents.

Using tape as an analogy for the frailty of human memory this tape was then cut into pieces of random length, freeing the sounds from their linear,chronological sequence. The tape cuttings were then intermingled with a collection of magnets that de-magnetise (thus erasing) portions of the tape.The tape (along with the magnets) was then buried in a hole in the grounds of the local school. After several days steeped in the earth of Kilfinane the remaining audio fragments were exhumed. Dirty, mangled and partially erased the tape was washed, dried and spliced back together in a random order ready for playback.

Further digital recordings were also made around the same location during the period of the tape’s interment. The contrast between these higher fidelity field recordings and the degraded analogue sounds added a further substrata of time to the process.

Mark Vernon is a Glasgow based sound artist whose current work is focused on concepts of audio archaeology, magnetic memory and nostalgia. At the core of his practice lies a fascination with acousmatic presence, environmental sound, obsolete media and the reappropriation of found sounds. A rich collection of domestic tape recordings; audio letters, dictated notes, answer-phone messages and other lost voices often find their way into his unorthodox soundworlds. These diverse elements are distilled into radiophonic compositions for broadcast, multi-channel diffusion, fixed media and live performances.

http://meagreresource.com

Another episode in the series of field recordings pieces from the field recordist andsound artist Toni Dimitrov dedicated to a city. This time the sketches are recorded in Belgradeduring his stay in the city for the Belgrade marathon in spring 2019. In thepiece you can hear the recordings from the opposition protests, the noise fromthe race, fountains, bars, parks, etc., interweaving subtly, blurring the linebetween field recording and sound art.

Toni Dimitrova multimedia artist, cultural explorer, radio activist working in the field ofradio and media for 20 years, philosopher, communicologist and passionate mountainclimber, but also sound designer, graphic designer, DJ, organizer, label owner,based in Skopje, Macedonia. He is doing various projects related to sound/art,radio, field recordings, he is curating the labelspost global recordings andélan vital recordings, but also various sound/art events. His radio programsbroadcasts on music radio Kanal 103 and are dedicated to contemporaryelectronic music, soundscape, field recordings but also discussing varioussocio/cultural/political topics. At the moment working on projects related topolitical analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

1. Colleen Keough – Perpetual Drift

The earth has undergone drastic climate changes, and a crew aboard a lost ship at sea struggle to adapt to an uncertain future created by a series of tragic events. The ship's crew are: Ether (a transmissions artist),the Captain, the Navigator (a depressed robot poet), Echo (the mythical nymph),and the Specialist (Scientist), a female scientist who specializes in rare botanics. The story embodies environmental concerns we face as a collective  human family, and the death of old structures giving way to new life forms,systems, and organizations. I perform each character's voice, and composed theelectro-acoustic soundtrack. 

Colleen Keough is a hybrid media artist working in lens and time-based media, performance, installation, creative writing, and digital art.Her integrated media works explore feminist new media themes through the intersection of pop culture, identity, myth and technology. Her works have been included in national and international exhibitions and festivals. She completed undergraduate studies at the School of the Museum of Fine Arts in Boston, MA,& DePaul University in Chicago, IL, and earned an MFA in Electronic Integrated Arts from Alfred University in New York state. Keough is based in Amherst, Massachusetts, USA.

http://www.colleenkeough.com

2.  Holbeck Still - Sound Laboratory – Atomic Landscapes:Alpha Particles

Holbeck, Still is an audio artist based in Surrey,UK.  The Holbeck, Still style fuses thick analog electronic sound design with unique captures of traditional instrumental tones.  This is compounded by a fascination for exploring the limits of the stereo field, whilst incorporating elements of randomness and imperfection. He utilises a range of techniques tha tinclude field recordings, vintage tape machines, sampling and cutting-edge synthesis.  The resulting works are cinematic,complex soundscapes. 

https://www.facebook.com/holbeck.still

https://twitter.com/HolbeckStill

 3. Joao Oliveira - N'vi'ah

N'vi'ah is an Old Testament word meaning prophetess. A prophetess conveys one or more divine messages often in the form of inspired songs. And many times her words are cryptic, requiring interpretation or even translation. This work uses isolated phonemes as musical material. Intelligible words are not articulated, leaving to the listener the imagination of what their contents and meanings could be.N'vi'ah was commissioned by the Ibermúsicas Project, and composed at the Human Interaction Laboratory - Diego Portales University in Santiago de Chile. It is dedicated to Federico Schumacher.

Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition and architecture in Lisbon. He completed a PhD in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music and experimental video. He has received over 50international prizes and awards for his works, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prizeand Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prizein Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition.
http://www.jpoliveira.com

4.     Lisa Fabian - NORDSJÖ

An assembly of sounds mainly recorded from ice expanding and contracting on a lake next to my family house in Sweden.These recordings are mixed with NASA space recordings that are made by translating electromagnetic waves into sound waves. Growing up I was both intimidated and intrigued by the otherworldly sounds the lake would produce. I remember breath-taking night skies endlessly filled with stars, accompanied by the sound of a lake singing on clear cold winter nights, timelessly linked frozen water and space in memory.

Lisa Fabian is an artist based in Glasgow predominantly working in sound, video and performance.

5. Yamachan - Moods

A set of compositions reflecting on the increasingly changeable spectrum of emotions associated with modern living and mental health. Or—music recorded during lockdown, April 2020.

6.  Kengel Maysonet Baerga - Mamma Mia

Mamma Mia" is also comprised entirely of audio clips from a single gay porn site. I continue to question if a product is tainted by its source, but in this piece, I do this from a more playful point of view. I recreate video game sounds and intend to create a very fraternal atmosphere, which exists in contraposition to its explicit gay source.

My work is centered around identity, primarily my own. As a queer, dark skinned Puerto Rican living in the continental US, I often delve into the complications of race,nationality, religion, sexuality, and especially gender. The way my work ties all these themes together is with the idea of the artist’s hand. Although, I am not referring so much to the physical marks left behind in a painting or sculpture, but a different sense of authorship. I leave behind traces of my intersectional Self, hints at my identities such as incorporating pink,tropical imagery, or sugar, etc.           http://bit.ly/kmaysonet

7.     Jan Van Den Dobbelsteen - In Media Res A-6

This work especially made for Radiophrenia. Result of a transformation from a sculpture about type, typography, language alchemy, sound and pronunciation of groups of type-characters.

Jan Van Den Dobbelsteen is a Eindhoven The Netherlands based interdisciplinary artist who has exhibited,curated programs and exhibitions,lectured and performed internationally. He is deeply involved with both acoustic and visual media.Publishing on his record and book label Cosmic Volume. http://www.iae.nl/users/jada

8.     Jamie Kane - The everted rim of a vase

The everted rim of a vase oscillates between the space of a room to that of the mouth, from the sound of landscapes to the formation of language, from above to below, upwards and outwards.

My work centres around the relationships between time and materiality. I liken my practice to that of a dump, where time, information and material bear upon, decay and fuse with each other. The economy of the dump is one where temporalities, histories, hierarchies and values are loosened, undone and attributable in new ways. In 2019 I received the study abroad scholarship from The Leverhulme Trust, allowing me to complete my Masters of Fine Art at The Piet Zwart Institute, Rotterdam.           http://jamiekane.xyz

1. Canaan Balsam - infinite value through absence

I am musician from Edinburgh and my first tape is coming out next month on Passat Continu records in Spain (this piece isn't on it). 

https://soundcloud.com/canaanbalsam

2. Cynthia Zaven - Human Moments In WWIII

Fragments of radio communications inspired by Don De Lillo’s science fiction short story in which two astronauts receive unidentified radio signals while orbiting above an Earth torn apart by war. These radio signals are later revealed to have been old broadcasts from Earth. 

Voice 1 : Excuse me, I was just wondering if you could help me find my way.
Voice 2 : Where do you want to get to?
Voice 1: It really doesn’t matter.
Voice 2: Then it really doesn’t matter which way you go.

Cynthia Zaven is a composer, pianist and artist based in Beirut. Her projects combine a variety of media to explore the relationship between sound, memory and identity through interwoven narratives. Her music has been published by the Berlin based label, Staalplaat. Works include Untuned Piano Concerto With Delhi Traffic Orchestra (performance, 2006), Bunker Fairy Tale (sound installation with video, 2013), and more recently, Perpetuum Mobile, a 12channel sound installation that was exhibited within the Temple of Bacchus, at the World Heritage site of Baalbeck, and nominated for the Prix Ars ElectronicaAward 2017.

http://www.cynthiazaven.com

3. Thomas Leyland Collins - Lockdown Love Songs Vol I.

4. Ilaria Boffa - Pollens

Written and recorded at “Anello dei ColliEuganei” in Padua (Italy) in 2020, ‘Pollens’ explores the ecological awareness of time passage under possible conditions of mass extinction.

Born January 6 1972, Ilaria Boffa is an Italian poet. She has published three poetry collections and she is one of the eight authors included in the North East American Association publication‘ Writing in a Different Language’ Vol XL 2018. Over the last three years, she has been experimenting with field recording, blending her spoken words with sounds.

Her work can be found here:

http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/

https://soundcloud.com/ilaria_boffa

5.  Freya Johnson Ross - Fragmented histories (i.)

This piece invites us to reflect on the politicaldimensions of listening from twin perspectives: the individual and collective, theembodied and theoretical. It draws on archived sound and new recordings, interweavingvoicesdiscussing the history of work theorising the political dimensions of listening,while simultaneously presenting these as experiences.We hear and experience processesof ‘witnessing’individual and collective histories of landmark industriallosses, and are reminded of the subtleties of interpersonal listening learnedthrough induction into the Sunderland shipyards.The construction serves toemphasise the temporal dimensions of listening, and awareness of history itselfas an ongoing process of construction and reconstruction.

Freya Johnson Ross is an artist and researcher working primarily with sound and installation. Her interests are focused on sound and listening across disciplines, knowledge production and understanding, and equality, and in her practice she strives to invoke people’s reflection on the intangible and their own perceptions. Her current work addresses the politics of listening and the making and re-purposing of sound archives.From Glasgow,she has studied at the University of Cambridge, Wimbledon College of Art, and University of Sussex. http://www.freyajohnsonross.com

6. Kengel Maysonet Baerga - I'm Str8

In "I'mStr8" I have created music entirely comprised of audio clips I have acquired from a single gay porn site. Everything the listener hears is made of manipulated, gay "Pornographic audio." Through this piece I am exploring the potential of sounds and questioning if the music remains"tainted" by the source.

My work is centered around identity, primarily my own. As a queer, dark skinned Puerto Rican living in the continental US, I often delve into the complications of race,nationality, religion, sexuality, and especially gender. The way my work ties all these themes together is with the idea of the artist’s hand. Although, I am not referring so much to the physical marks left behind in a painting or sculpture, but a different sense of authorship. I leave behind traces of my intersectional Self, hints at my identities such as incorporating pink,tropical imagery, or sugar, etc.

7.  Josie Perry - Beautifully Formed

‘Beautifully Formed’ is a sonic spin-off of a longer performance called 'Retainers,' which juxtaposes verbal description of a call-centre job with the rhythmic telling of an absurd and viscerally uncomfortable story. In this sound piece, a part of the 'Retainers' story is taken as an extract and delivered by an ambivalent voice, bleeding into an ambient soundscape. 

I’m an artist working mainly between drawing, sculpture and performance. In performance and soundworks, I use modes of alienated voicing and unreliable narration to perform the incoherence and contingency of selfhood, and to play with the material and affective boundaries of speech. Recent exhibitions and performances include at Centre Cívic Can Felipa (Barcelona), Stichting Perdu (Amsterdam), Formerly Known As With de With Centre for Contemporary Art (Rotterdam), DE PLAYER(Rotterdam) and Twenty One, venue of Focal Point Gallery (Southend-on-Sea). Ihave recently moved to Glasgow after finishing an MFA at the Piet ZwartInstitute, Rotterdam.

https://josieperry.com

Adam Kinsey is a sound artist with interests in electronics, improvisation and transmission arts. Adam performs sporadically in London at free improv events and has had work broadcast on a number of radio platforms including  Radiophrenia Scotland, Resonance Extra and Threads Radio. Adam also works as aduo under the name Littoral Transmissions. 

 https://adamkinsey.bandcamp.com/ 

https://soundcloud.com/littoraltransmissions

1. Chin Ting Chan - Rituals

Rituals is inspired by various ritual processes of different cultures. Some rituals involve elaborate processes,while others are simply daily rituals inherited from the tradition. While most rituals are diversely different, they all engage a sequence of actions according to a prescribed order guided by a mythical belief. This piece takes inspirations and sonic elements reminiscent of the ritual processes and forms a sonic collage that alternates constantly between hyper-real and surreal soundscapes, and creates a multi-layered texture of timbral and rhythmic complexity.

Hong Kong-American composer Chin Ting CHAN has been a fellow and guest composer at festivals such as IRCAM's ManiFeste (Paris, 2013/2018), the ISCM World Music Days Festival (Tongyeong, 2016; Tallinn, 2019), and UNESCO International Rostrum of Composers(Tallinn, 2015). He has worked with ensembles such as Ensemble intercontemporain, ensemble mise-en, Ensemble Signal, eighth blackbird, Hong Kong New Music Ensemble, and Mivos Quartet, with performances in more than twenty countries. His works are published with ABLAZE Records, Darling's Acoustical Delight, New Focus Recordings, PARMA Recordings, Phasma-Music, RMNClassical, BabelScores, SCI Journal of Music Scores, and Unfolding MusicPublishing (ASCAP).http://www.chintingchan.com

 2.  Boonif - Sicklical

‘Sicklical’ is woven entirely from samples that were recorded using objects and sounds found inside my parents’ house during lockdown (the ‘kickdrum’ is a book slamming on a table, the ‘shaker’ is a tub of cotton swabs shaken, etc) as well as field recordings from Toulouse. Some sounds were edited (re-pitched or given delay for example) whilst others were recorded straight in. The washing machine sound at the start was the inspiration for the piece. The cyclical, repetitive experience of relentless domesticity:staying indoors everyday.This contrasts with lively outdoor noises from  Toulouse – thoughts of escape.

Boonif is a sound artist, trumpet player and producer based in Glasgow. Influences include low-fi synth pop, new wave UKjazz and Donna Summer.

 Soundcloud: https://soundcloud.com/user-232211547-83518734

3. Faxen - Firedrake (Radio edit)

Based on a multi-media installation, Firedrake (radio edit) examines attempts of the Chinese government to censor foreign short wave radio stations (also called jamming) and methods to avoid these interferences by manipulating radios. By constantly playing an one hour long piece of Chinese folk music entitled “Firedrake“, radio stations such as Voice of America, Radio Free Asia and BBC World Service are muted by the Chinese authorities. In order to bypass Chinese jamming DIY adaptations of radios, so called anti-jamming antennas are used. The multiple materials needed for these antennas are the starting point for an acoustic improvisation that can be heard in this piece. In addition, excerpts from an interview on jamming activities of the Chinese government, recordings from shortwave radio stations and the original Chinese Firedrake broadcast are part of this composition.

4. Adam Paroussos - Pools of water (improvisation)

This piece is an improvised sonic exploration into Swampcore. It features a homemade TV aerial chordophone, found tape recordings, bird samples and electronically processed Bb Trumpet.

Adam Paroussos composes soundscapes, performative music and spaces of spontaneous collaboration. His sound work spans through film, theatre, dance and live art with frequent collaborators such as Sound Writing Kollab, PetriDelights and SubPhonics. Adam runs ongoing multi-disciplinary improvised events‘Crossspace’ and often uses self made instruments and sound costumes to engage audiences in solo works.  

 adammk25.wixsite.com/adamparoussos

adamparoussos.bandcamp.com/

@bamboo_mustard

5.  Kate Donovan – Raum III

Soundscape of radio signals.

Kate Donovan is a practicing radioartist, facilitator and researcher based in Berlin. Her artisticpractice deals with radio in an elemental sense, in terms of frequency,transmission and interconnectedness (but also disruption and interference). HerRadio show 'elements' is broadcast monthly on CoLaboRadio in Berlin.Since 2017, she’s been part of the Datscha Radio Berlin team. Currentlyshe’s part of the research group“SENSING - the knowledge ofsensitive media”, with a PhD project on expanded listening and radio art.

https://mattersoftransmission.wordpress.com

While composing it I made a condition to myself that it had to be exactly 30 minutes long. Its core is made of field recordings from two completely different spaces, a resonant hall and a small fishing hut full of old fishing equipment. Alongside those two spaces there are recordings of improvised electronic feedback in different shapes.This piece is my exploration on accidents and the strive to overtake and transform them to something subtle in the form of a radio collage.

Rasmus Östling is a Turku-based musician who combines various sound sources in his work. He aims to bring field recordings, synthetic sound and feedback together, creating a collage-esque composition and holding on to the critical elements of musique concrète.

My name is Stefan Neville & Iwork at Mapura Studios in Auckland, New Zealand, We are a creative space forpeople living with disability & diversity. 

 http://www.mapurastudios.org.nz/

During May this year our programshad to happen remotely online and I produced a series of "PANDEMIC ZOOMCLASS PODCASTS" from recordings of the sessions. They captured students& tutors adapting to the situation & connecting through conversation,artwork, ideas, poetry & music. Framed by technical difficulties,unintelligibility & bad connections becoming musical refrains, you willhear us wrestling with a scary time & keeping each other company.

Overwhelming Waves is an essay in radio signal and radio noise. It is a collage of shortwave radio captures recorded by Jeff Gburek at various locations, some spanning 25 years, recomposed & combined with an spoken word commentary about the meaning of this listening process, the relationship of the earth to the ionosphere and the electro-magnetic resonance of the planet reflected in radiowaves where the individual listener is a creative participant, an electroreceptor and transmitter of consciousness. References include Pauline Oliveros, Thomas Ashcraft and Douglas Kahn.

JeffGburek is a sound artist & composer who has incorporated radiophonic signals/noises and radio processing in his electro-acoustic works since 1993,when he recorded a series of live shortwave assemblages entitled Radio WideWorld in Firenze, Italy. This transformative encounter with an earth-spanning signal system aired marginally: on WFMU and New Mexico’s Aetherfest, and eventually self-published in a 4 cd set in 2003. It was at this time he coined the phrase radiophonography to describe his particular style of field recording and DXing while traveling abroad. Radio Wide World would only be more widely heard in 2011 when younger Chicago-based pirate radio art enthusiasts invited him to present his work as a Radius episode # 11 (https://theradius.us/), which led to the first reviews of the project. In more recent times, his radioworks have been disseminated via Wave Farm in NY and at scattered European art events. He has published for the last 3 years radio-phonographic works, musique concrete and  works via Radiophrenia Glasgow and has held artistic residencies in Indonesia, Berlin, Amsterdam and Brussels. He lives in Poznan currently.  

transparent-abelard.blogspot.com

https://jeffgburekprojects.bandcamp.com/

https://soundcloud.com/jeff-gburek

1. Kate Donovan – Deep Time Radio

A legend about the beginnings and ends of radio, including the voice of Molly Donovan Higham.

Kate Donovan is a practicing radio artist, facilitator and researcher based in Berlin. Her artistic practice deals with radio in an elemental sense, in terms of frequency,transmission and interconnectedness (but also disruption and interference). Her Radio show 'elements' is broadcast monthly on CoLaboRadio in Berlin.Since 2017, she’s been part of the Datscha Radio Berlin team. Currently she’s part of the research group “SENSING - the knowledge of sensitive media”, with a PhD project on expanded listening and radio art.

https://mattersoftransmission.wordpress.com

2. BandaBase - Radio Clásic Española

The piece was crafted during an improvisation session where under the backdrop of a pitched-down looped classical record the  radio was spontaneously tuned and merged through a constant alternation between both sources. Additionally, it includes light synthesizers dribbles and unintended Theremin sounds, adding to the piece an extra-terrestrial feel. The piece in itself plays with elements of randomness and chance, influenced by John Cage’s early radio works and James Tenney’s early tape manipulations. 

Band Base is a loose free improvisation ensemble from Madrid, derived from members from Radio Relativa,music collectives Undermad and Real No Real and counter-cultural sonic research platform Unlocked Youth. Banda Base are Alejandro Martinez de Miguel (Sonidos del Espacio/ RadioRelative / Undermad), Juan Vacas ( Real No Real / Freak Caravan), Pablo Losa(Undermad, Radio Relativa) and Pablo Mirón (Real No Real/ UnlockedYouth). 

 https://amdemiguel.bandcamp.com/album/sonidos-del-espacio-tiempo-modulado

https://radiorelativa.eu/

3. Ivor Kallin -  Sangs of Bute, Eh? R09_0088

From a collection of 51 improvised 'songs' on the piano, (which I can't play). They were recorded in a cottage on Bute, which just happened to have a piano, and I'd brought my voice with me

4. Dorota Blaszczak - Through Our Windows

Stay-at-home in March 2020 was an obligation which I treated as an invitation for local observations including “listening through the windows” with an autonomous recorder on the roof. Two minutes soundfiles were recorded every ten minutes to preserve sound envelopes of each day.  „Through Our Windows” consists of a linear sequence of excerpts from recordings of each hour. One minute of the piece represents four hours of real time. The sound is not processed. Four parts are built from recordings of four days. A short introduction brings police announcements to stay at home.

Dorota Blaszczak is an audio engineer at the Polish Radio Archives in Warsaw and a lecturer at the Sound Engineering Department of the Fryderyk Chopin University of Music in Warsaw. She teaches courses in interactive sound, works in sound restoration and preservation, creates audio works and interactive projects.
http://www.dorotablaszczak.pl

5. Amanda Brannin - Fever statement

A fever-dream broadcast. 

An artist currently residing in Austin, though different while asleep. Sound for in-between spaces.

https://soundcloud.com/amandabrannin

Rap Painting 1 is asound poem. Rap Painting 1 tickles the ear differently than it does the eye.When you grow up as an Afro-Caribbean surrounded by white anglophones in a particularly tense part of French Canada how can people expect you to have your grandmother's accent? They can't.

Nathanael Jones is a Canadian writer and artist born in Montreal and currently based in Chicago,USA. He holds a BFA in Interdisciplinary Fine Arts from NSCAD University and an MFA in Writing from SAIC. He has exhibited and performed in Edmonton, Halifax, Fredericton, and Chicago, and has published work online and in print with Funny Looking Dog Quarterly, Aurochs, GhostProposal, DREGINALD, and Infinity's Kitchen.

This broadcast is about how radio helps during times of isolation. I have been rethinking the human condition in terms of isolation at sea, and how visible and invisible boundaries can be broken via radio waves as an act of resistance and the legacy of radio art across boundaries. We are all kitchen table broadcasters now, online streaming means we have broken free with live streams across the globe for those with technology, power and the internet,However analogue radio is still a mighty force and affordable for many worldwide. My radiophonic poem draws on my own enforced isolation first through Brexit and then in lockdown. In the spirit of transnationalism it sends a broadcast from the phantom but once mapped island of Hy Brasil off the Irish coast, relaying a message of peace, hope and unity across all borders.  A new radiophonic work considering how radio helps us with forced isolation and how visible and invisible boundaries can be broken via radio waves as an act of resistance.

https://magzhall.wordpress.com/waves-of-resistance-tonnta-friotaiochta/

The Yard, The Room Upstairs (Still Life) is a tape work inspired by allegorical vanitas paintings. Aiming at a moving target, the piece explores the elusiveness of memory by alternating two thematically connected field recordings, each time with overdubs and treatments gradually replacing the original source.

Two memories are revisited alternately three times each. The piece starts out from two short scenes recorded on site: a yard sounded by crickets and a piano in a room. Banal yet charged with what is absent: other senses, inaudible sonic details, layers of emotion. These scenes are recreated three times: first with the original source, the second time with part of the source and the third time without the source.

Scene I: The Yard
Date: August 14, 2020, South-West Finland
Setting: An almost empty camping ground. A remnant of the welfare culture of decades past. A remote bay surrounded by forest, houses, cottages and sheds, peeling red paint. An overgrown playground and mini golf court half sunken into the soft ground covered with pine needles.

At dusk, walking across the yard. The air has a smokey quality and is filled with the rise and fall of the sounds of crickets. They are always at a distance, never near, stopping when you enter their field, then starting again a few moments after leaving it, like the wake of a boat swelling back into the sea. A mouse runs across the gravel and freezes motionless under your gaze. Faint movements in the surrounding trees in full dark green at the peak of late summer. The light scent of burning logs.

Revisit the memory of this moment over and over as it evades you, like the crickets, the wake.

Scene II: The Room Upstairs
Date: August 29, 2020, Southern Finland
Setting: A yellow house surrounded by fields. Windows in all but one direction. Afternoon sunlight. A rarely played piano in a large living room. A dishwasher humming in the adjoining kitchen. The presence of people downstairs felt but not heard. Amateur oil paintings adorning the walls. Portraits, landscapes and still lives, mostly. A book case filled to the ceiling with 70’s and 80’s bestsellers. A stuffed snake on a shelf, a cow hide rug, a hearing aid and batteries on a mahogany coffee table, a pair of large slippers. Another scene inhabited by the remnants of hobbies, leisure time, objects to fill out the measures of an afternoon that grows longer with each year.

Play along to the piano.

The piece contains samples of rehearsal recordings from another work in progress with Aino Juutilainen (cello), Johanna Kalliokulju (mezzo-soprano) and Villa Ruscica (harp).

Marja Ahti (b. 1981) is a Swedish-Finnish sound artist and composer working with field recordings, electronics, feedback, magnetic tape and digital treatments. Her work gravitates towards organic textures and intuitive tunings, assembling rough edged yet precise compositions, poetically narrative and rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active as a duo with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

http://www.marjaahti.com

An alphabetical numbers station broadcast reciting the Covid-19 genome sequence in full from A to C to G to T. What is the sound of 5G? Advisory haikus 👏 clapping games 👏 keep washing your hands 👏 Form your conspiracy.

Sweætshops® is a multipersonality“conglomerate” and multidisciplinary artist, whose practise is focused on creating allegory out of the waste of 21st century capitalism using sound and performance. Their name is a portmanteau of the two extremes of our current era. They hold a sonic arts MMus, are the 2019 recipient of the BUZZCUT Emerging Artist Award and have been both banned from the Edinburgh Fringe and simultaneously legally married/divorced for Brexit. They have played various festivals including Listen Again and Meadows Festival. Their work has also been featured on compilations by various labels including Violet Comet and DeadHound Records. 

https://www.swextshops.io

The piece is centred around an unsolved murder case and miscarriage of justice. The dripping of a tap and the creaking of floorboards become as crucial in the retelling of the crime as the shaking voices of the two characters, who share their misgivings and suspicions with a largely silent protagonist.

The piece oscillates between fact and fiction, and is loosely based on an encounter with a retired barrister who was researching a murder that had occurred in my flat in 1908. The audio consists of field recordings and a collection of interviews.

Siri Black is an artist and graduate of Glasgow School of Art BA Fine Art Painting and Printmaking. Her practice is the lovechild of pure anachronism and technophilia. She considers the sculptural qualities of film to test the intersections of the observer and the observee; image and image-carrier. Recently, her work has been shown at 16Nicholson Street (Glasgow),Lunchtime Gallery (Glasgow), and Wooosh (Dundee).

http://www.siriblack.com

https://www.instagram.com/quitesqualid/

Clothes Off is a spoken word sound piece composed of fragmentary narratives of everyday power relations, fluctuating between personal accounts and fictional details that encompass the mundane and the fantastical.

Rosie Trevill is an interdisciplinary artist based in Glasgow, working predominantly in sound, performance and printmaking. Rosie’s practice centres around language and embodiment, examining how new vocabularies offer potential for resilience and resistance. 

rosietrevill.co.uk

Ryan Frame - At The Races

A new radiophonic composition continuing OOR_Scintilla’s dialogue around materialities of intimacy, distance, ‘live’ and recorded dynamics. Ancient spiritual apotropaic markers found within churches and standing stones or ritualistic gestures of contact are taken as reference points for seeking out unknown ‘third’ presences within landscapes, weathers, voices and the making and playing of instruments.

The work incorporates a number of new sited and remotely realised performances recorded along waterways and forests in and beyond Edinburgh, as well as reworked/unheard material from OOR_Scintilla’s recent album project The Whiteadder Tapes situated in the Lammermuir Hills.

voice, crwth, harmonium, violin, hurdy gurdy, gongs, DIY aeolian harps and horns, field recordings, infra- and ultra-sonics, hydrophonics, electromagnetics.

OOR_Scintilla (Louisa Love + Clive McLachlan Powell) are an Edinburgh-based collaborative artist duo exploring the material poetics of sound, voice and place. They work improvisationally with numerous forms of resonance across processes of field recording, musical performance, sculptural production, objects, electronics and the voice to produce environmentally-responsive audio works exploring hybrid and unstable conditions. Drawing on ancient origins, local and folkloric narratives, they are interested in the gestures and enigmatic territories that interconnect bodies, places, histories, technologies and natural phenomena, engaging with sounding and listening as acts of embodied archaeological research. The duo have come to define themselves through a humble and intuitive approach which employs only the environment, the human voice, the physicality of materials and mostly traditional instruments as raw material. These form the basis for an unsettled sonic dialogue rooted in multichannel natures and the wilding of latent identities.

In September 2020 OOR_Scintilla released The Whiteadder Tapes, an album of sonic archaeology compositions responding to the Whiteadder Water Valley, Scottish Borders, produced in conjunction with AOC Archaeology through a major project of new community-led excavational research (2019-20).

https://oorscintilla.bandcamp.com/releases

https://www.instagram.com/oor_scintilla/

https://soundcloud.com/oorscintilla

This is a recording of 113 sirens recorded from an alley in Chicago, from May 24 to June 2, 2020, the de facto end of COVID lockdown. I've layered the sirens over one another, in the order in which they were recorded, leaving nothing out. I taped every night, from evening until dawn, documenting emergency sounds from several nursing homes and a COVID hospital nearby. The project changed after the murder of George Floyd on May 25. Over time, there were fewer ambulances and more police. Migratory morning birds gave way to news helicopters and demonstrations.

Neil Verma is a scholar and sound recordist in Chicago, where he serves as assistant professor of sound studies at Northwestern University. His books include Theater of the Mind:Imagination Aesthetics and American Radio Drama, and Indian Sound Cultures, Indian Sound Citizenship. His experimental sound recordings have aired on Radiophrenia, Resonance FM and WaveFarm, among other venues. He is editor of the RadioDoc Review and founder of the Great Lakes Association for Sound Studies.

Siobhain Ma is a sound artist who explores themes of identity, environment and the supernatural in her work. You can find out more at siobhainma.com

Rhiannon Walsh is a Reiki practitioner and energy worker, as well as a sometimes writer and audio maker. You can contact her on her email at nnonnaihrr@gmail.com. 

The Cult of Connection

This hour is dedicated to the cult of connection; allowing listeners, through an initiation rite, to connect to the invisible forces of radio waves. The dance of the spirit will give rise to disembodiment in order to reach the land of voices and travel in a space parallel to our perceptions.

Jonathan Frigeri is a sound artist, radio producer, sound collagist, and electronic musician. As a sound artist he is mainly interested in revealing hidden sonic layers of reality, to open spaces of imagination. In his work for radio he incorporates the creative process, the radio device and the space between the transmitter and the receiver, emphasising the space inbetween; between here and there.

http://jfz.zonoff.net/jfz/

1. Teddy Coste - The Pattern artist   

An audio piece about an artist who lives horizontally and can’t find what is his art practice. But then the wing beat of imbecility hits him and he may find his way through something.

Teddy Coste is an artist who currently lives in Glasgow. He performed in several places including Radio Athènes (Athens), Montevideo (Marseille), Paris Internationale/Treize (Paris), Swimming Pool (Sofia), Het Nieuwe Instituut (Rotterdam) and San Serriffe (Amsterdam).  

 2.  Vincent Eoppolo - Becoming: You Cannot Step Into The Same River Twice

A work inspired by the words of the Greek philosopher Heraclitus "You cannot step twice into the same river, for other waters and yet others, go flowing on."

Composer:VINCENT EOPPOLO (Ioppolo) - Wilmington, Delaware, U.S.A. My works are a synthesis of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art.  My works have been presented at the New York City Electro-Acoustic Music Festival, the Bushwick Open Studio Festival in Brooklyn , Utopie Sonore in Nantes, France and De Natura Sonorum in Rome,Italy. Many of my compositions have been featured on radio programs in Scotland, France, Italy, Canada, Ireland and the USA.

3. Rebecca Wilcox and Hanna Ellul - Ancient Work

Sounds have been gathered, broken down, magnified to make a piece of layered, faulty atmospheres.

https://m.soundcloud.com/wilcoxellul

4. Anette Gellein - Everything is Fucked Up     

From Cinema For Lonely Souls a compilation of sound works,more minimal than my previous work. It is composed by a synth programmed in Max/Msp and the analog synth Moog Mother 32. The sound compositions is both based on very fixed parameters as well as analog improvisation. This collection of work is especially inspired by more minimal electronic composers,such as for example Eliane Radigue. 

Anette Gellein (b.1995) is a multi-media artist working with video, music,  sound, text, images, drawing, performance and textiles. Her work often comes together in immersive installations combining different mediums. She graduated with a masters from Glasgow School of Art specialising in performance in 2019 and is currently based in Stavanger, Norway. Previous studies include Nordland Art- and Film school & BA in Contemporary Art from Tromsø Academy of Contemporary art in 2017. 

anette.gellein.com 

5. Lin Li - Good Evening, Dada help!  

In order to make (non)sense of the strange times we are in, this sound piece was made using the Dadaist creative strategies of chance and found objects to randomly select auditory fragments from speeches given by the British Prime Minister Boris Johnson since March this year. The fragments were selected by computer automation and remixed into a word salad about the unprecedented situation in the UK.

Lin Li lives in Scotland and uses sound and moving image in her creative practice. More information about her work is available on http://www.linli-art.com

6. Peter Hawkey -  Imperfect Constant      

This piece explores how much a repetitive action can vary. A single note is repeated while subtle changes are made each time, creating a slowly evolving soundscape.

Peter Hawkey is a musician and composer who studied at Oxford Brookes University.Although having a background in rock music,he enjoys writing in many styles,and taking on the challenges of composing in unfamiliar styles or starting with unusual materials. He has had music played by various radio stations and concert performances.

7. Neil Verma - The Breakfast Ship

Based on a dream from Sigmund Freud’s The Interpretation of Dreams. The text was performed by sound artist Olivia Block. Music by Blue Dot Sessions. Field recordings and electromagnetic fields recorded in Dechen Cave, Iserlohn, Germany and in Glenshee, Scotland. Special thanks to Chris Watson,Jez riley French and LOM microphones. This piece was featured on the Liminal Sounds exhibit at Earlid and aired on Wavefarm earlier this year. Thanks to Joan Schuman.

Neil Verma is a scholar and sound recordist in Chicago, where he serves as assistant professor of sound studiesat Northwestern University. His books include Theater of the Mind:Imagination Aesthetics and American Radio Drama, and Indian SoundCultures, Indian Sound Citizenship. His experimental sound recordings have aired on Radiophrenia, Resonance FM and WaveFarm, among other venues. He is editor of the RadioDoc Review and founder of the Great Lakes Association for Sound Studies.

Based on a compilation of my diary entries from 2010 to 2020, all from the 19th of Sep each year.  Recorded one take directly to Sony ICD-UX560 recorder.

Ryan Frame is a now at home ex office worker and experimental field recording artist. Based in Edinburgh, his recordings from pubs, streets, buses and his own flat are all captured on his iphone or small sony recorder. He also dabbles with improvised electronics, radio static, drum machines and samples.

A Known Unknown attempts to sonically represent celestial events (Gravity,Moon, Planet, Star, Stellar Nursery, Pulsar, Quasar, Constellation, Nebula, and Impact Event) — treating all sounds as moments within physical boundaries — via through-composed "Known" sections and structured-improvisatory "Unknown" sections. Because the subject matter which the sounds represent is always moving no sound is perceived as stagnated or accented, instead the sound overlaps in a fluid manner. These parameters result in sounds that react, morph, die, and birth new events.

Jordan Dykstra (b. 1985, USA) is a Brooklyn-based composer and violist working in the fields of chamber music and media scoring. He received his undergraduate degree from the California Institute of the Arts and his masters degree — which focused on the connection between astronomy and microtonality — from Wesleyan University. In September2020 New World Records released a composer portrait album entitled The Arrow of Time.

https://www.jordandykstra.com

Exploringthe hauntings in the working class colliery houses of the composers hometown, focusingon the Spiritualist Church that was located at the bottom of the street thecomposer lived on as a child and describing the terrors that he imaginedwere inside. 

Thepiece also considers the work of mediums and reflects upon the comfortpeople look for from those who’ve passed over.

Orchestralmusic created using cut ups, loops and layers of public domain classicalpieces.

Worker-artists convene a hive broadcast of indiscriminately gathered sound-pollen, transmitting codified messages to kindred folk.

Each week a potent gang of sound artists are at play, exploring whatever is on their minds. Style guide: Anything goes.

Knut Aufermann & Sarah Washington (Ürzig) http://www.mobile-radio.net


Xentos Fray Bentos (Broughton) http://www.discogs.com/artist/xentos


Frauke Berg (Düsseldorf) http://www.fraukeberg.de 


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de


DinahBird (Paris) http://www.bird-renoult.net/dinah-bird 


dieb13 & Billy Roisz (Vienna) http://dieb13.klingt.org & http://billyroisz.klingt.org


Anna Friz (Santa Cruz) http://nicelittlestatic.com 


Ralf Schreiber (Cologne) http://www.ralfschreiber.com


Live broadcast 30th April 2020 on Resonance Extra, Soundart Radio,WGXC, Wave Farm & π-node. Later on Radio ARA, JET FM & Radio Panik.

Produced by Mobile Radio with support fromπ-node.

These sketches are recorded in the small city of Ioannina during hisvisit for the Biennale of Western Balkans in autumn 2018. In the piece you canhear the recordings from the lake, the small island, the castle, citystreets and gyro restaurants, but also sounds from the galleries,venues and boat trips, that interweave subtly, blurring the line betweenfield recording and sound art. 

Toni Dimitrova multimedia artist, cultural explorer, radio activist working in the field ofradio and media for 20 years, philosopher, communicologist and passionate mountainclimber, but also sound designer, graphic designer, DJ, organizer, label owner,based in Skopje, Macedonia. He is doing various projects related to sound/art,radio, field recordings, he is curating the labelspost global recordings andélan vital recordings, but also various sound/art events. His radio programsbroadcasts on music radio Kanal 103 and are dedicated to contemporaryelectronic music, soundscape, field recordings but also discussing varioussocio/cultural/political topics. At the moment working on projects related topolitical analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

We all have sayings or proverbs from artists and musicians that help us and that we sometimes need to hear again: #thefablefiles project invited people to share their proverbs on an answering machine over a few set August days, leading to two‘interior’ and ‘exterior’ mixes that question the gaps and the synchronicity between dialogue. With more people at home during the pandemic, has the answering machine become redundant, or can we still be ‘uncontactable’ at times?

 Foreign Investment (FI) is a UK based collective that is known for their often-pioneering art projects based around notions of exchange; exchange as currency, exchange as a method of interaction and exchange as the basic form for meetings: spontaneity cannot be underestimated.See http://www.foreign-investments.comand @southlondonmuseum

Alan Dunn is an artist and curator based between Liverpool and Leeds, where he is a reader in Art & Design at Leeds Beckett University. His projects have been presented at Tate Britain, ICA, Liverpool Art Prize, BBC Radio and Bluecoat. See http://www.alandunn67.co.uk and @alandunn67

Weblink with full list of contributors: http://www.alandunn67.co.uk/fable.html

Tuuli & Amanda have been touching without touching since 2017. Writing letters to one another from Helsinki to New York, they have reported and imagined their present and shared futures. Strands of Long Distance Love takes the form of sonic letters recorded in July and August near their homes and on trips. It is an experiment in opening the penpal dialogue to a third unknown listener,you, and inviting you into a dis/located soundscape and conversation between the two artists. The letters take inspiration from more-than-human networks,especially the fungal world, which weave cross-continental webs of information and care.

Tuuli Malla is a performance and installation artist working collaboratively with places and people. Thei rprevious sound work Šäigg – Root Echo will soon be available online via the Sámi Museum Siida.

Amanda Monti is across-disciplinary poet based in NYC. They use sound, performance and divination to create spaces for tenderness. Amanda’s first poetry collection Sporeradical is forthcoming next year.

Come and join us for a Hairst Bree. Hearty autumnal ear fodder.

A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.

This soundwork features recordingsof used tapes I bought on the internet. I didn't expect them to unravel anintimate dimension. They contain familyrecordings, probably made decades ago. A woman singing, a mother talking toher child (presumably the same woman), the voice of the father, piano pieces(presumably played by the father), a child singing Italian songs from a tv show, children songs and nursery rhymes.This listening experience put me ina voyeuristic condition and led me to this private world made of memories and nostalgia that, like a Fellini's movie, became relatable and universal.

Stefano Giampietro was born inNaples, Italy in 1993. In 2017 he enrolled at the Electronic Music course ofSan Pietro a Majella Conservatory and got involved in internal projects andlive contexts. He played around Italy in multiple events and festivals (TempoReale, Disorder and in May 2021 at Maison de la Radio in Paris for GRM). His works are related to concrete music practices and focused on themes like space, semantic of sounds, and through atypical use of microphones, taperecorders, he collects material and tries to discover new potential ofelectroacoustic devices and relations between different sounds.

https://soundcloud.com/stefanogiampietro

1. Hannah Fredsgaard-Jones - The Very Best Thing That You Have

The Very Best Thing That You Have’ meditates on voice and identity with fragments from a Hans Christian Andersen fairy tale and the speaking voice of American singer Anthony Madonna.

Hannah Fredsgaard-Jones is a singer, songwriter and audio producer. Rooted in storytelling, her work encompasses folklore, memory, voice and intimacy. Hannah writes and performs alt-folk music under the name Asthmatic Harp.

http://www.hannahfredsgaardjones.com
http://www.asthmaticharp.com

2. Joao Oliveira - La Mer Emeraude

Let us imagine a small invented world, a micro universe where everything exists... matter, energy, spirit, telluric movements, mysteries, natural and supernatural forces. That world is whole and from afar, whoever watches, sees it as a living ocean.
This work was composed in the Musiques-Recherches studio and is dedicated to Annette Vande Gorne and Francis Dhomont. It received the second prize at SIME Competition 2019, the first Prize at Cittá di Udine Competition 2020 and the first prize at Destellos Competition 2020.

Composer João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition and architecture in Lisbon. He completed a PhD in Music at the University of New York at StonyBrook. His music includes opera, orchestral compositions, chamber music,electroacoustic music and experimental video. He has received over 50international prizes and awards for his works, including three Prizes a tBourges Electroacoustic Music Competition, the prestigious Magisterium Prize and Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prizein Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition.He taught at Aveiro University (Portugal) and Federal University of MinasGerais (Brazil). His publications include several articles in journals and abook on 20th century music theory.
http://www.jpoliveira.com

3.  Discount Gnostic - MR Dagenham's Little House and Beautiful Garden

Childhood remains a mysterious zone and one that frequently fails to secure fond memories. As the listener crosses a psychic threshold they are led through a landscape of fragmented recollection; Mr Dagenham’s house and his beautiful garden may not be quite as they seem. But never mind let him take you by the hand to the elsewhere of what was or thought to be. Do not fret, he always knows the way out! 

Exploring field recordings,abstracted sound sources and free improvisation DiscountGnostic evokes imagined pasts, occult encounters and accidental epiphanies. Using narrative triggers,the listener engages with a spectral world of false memory, childhood recollections and disjointed psychological spaces. Along the way discarnate radio and TV voices may be heard alongside more formally structured composition, discarnate soundbites in a proliferating sonic universe. Enter the rhizome and float freely, untethered to time and space. For more information and recordings Bandcamp and Facebook host artist pages.

4. Adam Pierce - Recorded Voices of Friends

 'Recorded Voices of Friends' and' Tennis Bleus' is a composition created specifically for radio in lateAugust and Early September 2020. The piece was constructed using free audio software on a Macbook Pro: Electroacoustic Tools (CMPE Pack) designed by JooWon Park (and sampling only original recordings) and Bill Orcutt's open source audio program, Cracked, and compositions recorded to 1/4 inch tape.

AdamPierce is a Detroit musician who has been in numerous ensembles, art rock bands, and most recently creating soundworks as a solo artist. His pieces have appeared in both Academic settings and non, museums, galleries, venues,basements, and a variety of other spaces.Constantly challenging himself to pursue the possibilities of sound in the everyday, Pierce seeks a concrete music all his own.  

https://adampierce.bandcamp.com/

5. Alejandro Vargas and Xelis de Toro - Seeing with eyes closed

This is a collaboration between the Cuban musician Alejandro Vargas and the Galician writer and vocal improviser Xelís deToro. This pandemic has restricted artists' movements but it has also created a situation which offers new possibilities: Xelís de Toro, a Brighton resident,moved back to his hometown, Santiago de Compostela, and met the Cuban musicianAlejandro Vargas. From this encounter some recordings and projects started toemerge. This is an improvised piece recorded with a zoom recorder in Alejandro's house.

This is a 7:45 minute experimental radio art work by Jimmy Peggie from Phoenix, Arizona.  It was composed during September, 2020. It is an observation of the ongoing effects of the Mexican/US wall being built by the current government on the relationship between the two countries.  A barrier is going up with a view to prevent unlawful immigration and drug smuggling.  However, Arizona was part of Mexico until 1912 and there is currently a move to downplay the join theritage and Latino culture which for many is an important aspect of life inthis state.  Many people turn to radio originating in Mexico as a solution.   I used radio transmissions originating from Mexico which were collected and reworked in Arizona to compose this experimental piece. 

This is an extension of the CD Irecorded during 2019 - 'Josef and Anni Go to Mexico' https://jimmypeggie.bandcamp.com/album/josef-and-anni-go-to-mexico  

 Jimmy Peggie is a sound artist basedin Phoenix, Arizona – whose output is centered around the re-contextualization of organic sounds (location recordings, radio frequencies, decaying textures)and integrating them using electronic processing methods. His sonic work is focused on micro recording, digital tape manipulation and sound collage. 

To The Person Who Drew You This is a ‘radio play without text,’ subverting hierarchies in the production of theatre and examining sound as a sole vehicle for generating narratives and commentaries. The title refers to creative work and communality as necessarily bound together and considers the acts of reciprocity in the listener / narrator relationship.

Stevie Jones is a composer, musician, sound designer and engineer that collaborates extensively across a range of contexts including performance, film and theatre. Since his last Radiophrenia piece (2019’s Can We Try That Without Sound?) he has released an album Leapling with his large-scale exploratory acoustic ensemble, Sound of Yell. 

In The Devil Museum we listen to the audio diary of a man tasked with photographing all three-thousand of a museum’s devil sculptures. As the assignment begins to falter and the man starts spending more time in his wooden cabin recording the sounds around him, the piece moves into subjects of boredom, isolation and Martin.

Jacob Dwyer (UK) is an artist based in Amsterdam. His work often centres around personal encounters that could equally be seen as fables or heresy. He studied Experimental Film at Kingston university and completed a residency at De Ateliers (Amsterdam).

‘Calling Utero’ is a 30-minute radio show hosted by Rosie Roberts and P. Ocean that looks at what radical locality might mean when two beings share one body, in a particular place at a particular time. Theshow will feature sections of demi-improvised semi-prompted live music, pre-recorded tracks, poetry readings and literary discussion.

Rosie Roberts is an artist and writer from Glasgow interested in observing overlapping relations from a feminist neurodivergent perspective. Her research surrounds the poetic haptics of everyday occurrence, moving image, storytelling and notions of relevance, commons and locality. Rosie has just published a book of non-fiction prose poetry ‘portals’ with SPAM Press, is currently ProjectsCo-Editor at MAP magazine with artist and writer Alison Scott and is screening her film ‘just/only’ as part of LUX Scotland’s One Artist, One Work programmein September.

https://www.rosieroberts.tv/

https://www.instagram.com/rosie__rob/

John Wilde is a writer, director, performer and sound artist who thinks that the lockdown would suit him just fine if it wasn’t for that pesky virus. John is a regular if infrequent contributor to Lights Out Listening Group and is currently enjoying working as part ofScript to Stage Renfrewshire with scripts from new writers. John alsocontributes to Writers Block Radio Hour for broadcast.

Boonif - Sicklical

Ivor Kallin - Sangs of Bute, Eh? R09_0130

Cynthia Zaven - Human Moments

Gabriel Furzumachi - Alma's Orange

Alison Carlier and Amanda Loomes - Disorder

Vicente MascarosLanga Confinement

A sound collage of audio snapshots sent from around the world captured on phones and digital recorders in response to lockdown.The recordings were used as source material for a live performance from Lyken’s Dumfriesshire studio, with additional processing and fragments of sound overdubbed later.

A mesostic poem accompanies the piece, written using the index letters R, A, D, I, O, P, H, R, E, N, I, A to select fragments of text from the descriptions that accompanied the recordings.If you would like to read the mesostic as you listen, it can be viewed here:

https://radiophrenia.scot/wp-content/uploads/2020/10/Borrowed_View_-Mesostic_New_Mark_Lyken.pdf

Mark: Edit, text, mix, processing

Collaborators:theta (Tromso, Norway), Colm McAuliffe (London, England), Alan Currall (Wanlockhead, Scotland), Anonymous (New Orleans, Louisiana), Ruaridh Law (Paisley, Scotland), Lee Ming-Yu  (Taipei, Taiwan), Alicia Hood (Burnhead, Scotland), Matt Atkins (London, England), Garry Maclennan (London, England), VEX (Dundee, Scotland), Abby Carter (Edinburgh, Scotland), Erlend Tait (Black Isle, Scotland), Jana Robert (Glasgow, Scotland), Jos Smolders (Tilburg, Netherlands), Jason Moyes (Borders, Scotland), Kate Davies (Shap, Scotland), Ian Watson – (Cardiff, Wales), Amy Whiten – (Portincaple, Scotland), Stephen Skrynka (Glasgow, Scotland),  Ros Fraser (Glasgow, Scotland), Aura Lynx (Bloomington, Indiana), Nadia Jones (Glasgow, Scotland), Skoddie (Tustin, California), Pete Smith (Edinburgh, Scotland), Lucy Parnell (Moniaive, Scotland), Emma Dove (Tokyo, Japan), Jackie Paper (Glasgow, Scotland), Dominic Khoo (North Region, Singapore), Jim Colquhoun (Bonnyrigg, Scotland), Tommy Perman (By Kinross, Scotland), Leonie Berman (Penpont, Scotland), Florencia García Chafuén (Lake Mergozzo, Italy), L.A.W (Dundee, Scotland)

This stereo soundscape is a tribute to the 70s work of David Bowie, centring principally on the five years between 1973 and 1977, though also bracketed with elements from earlier work and final work. It excludes Pin-Ups, butincludes Iggy Pop's album The Idiot, as the music was mainly composed by Bowie (using it as a trial run for ideas fleshed out on Low), and is afascinating bridge between Station To Station and Low.

The piece functions like a radio play or speculative documentary; it is an affectionate portrait where edits from songs form building blocks for new combinations, associations and references, along with music he was influencedby/took from, film, current affairs, comedy, field recordings and interviews.It is cinema for the ear, and should be listened to via a decent amp andspeaker set up or good headphones - not computer speakers or smartphone, as much detail and subtlety will be lost. The piece is freely downloadable to transfer to suitable listening media.

I grew up with Bowie's 70s albums, and they had a huge impact on me. He was utterly unique, his star rising at a time when, via big label backing and a strongly competitive streak, he could occupy a monopoly position and maximise his impact through a dazzling range of stylistic shifts and otherworldly personae. This body of work (completed by the time he was just 30) has a remarkable durability for me, and repays constant replays – I never tire of it.

Whether sliding down a rope or slithering down a greasy pipe, he was continually moving forward in a whirl of high speed, voracious and unceasing creativity, capturing things quickly then moving on (a lot of his vocals were done in very few takes), avidly soaking up everything of interest that came into his orbit. He was like a perpetuum mobile. He seemed to anticipate the post-modernist, fragmented approach of the 80s and beyond.

It's curious how his strenuous attempts to steer clear of the 'madness' (as he poorly labelled it) in his family background, drove him via his prodigious cocaine intake, to those very states he was so keen to avoid – rampant paranoia, delusional beliefs, blurring of reality and fantasy and what would now be called schizo-effective and addictive behaviours. And yet he remained as creatively focused as sunlight through a magnifying glass. This is perhaps partly what saved him, the 'distraction' of it away from those negative states.It was his own therapy. What is remarkable is how he managed to survive and effectively manage his own recuperation in a much needed move from Bel Air to Berlin. Iggy described him as having “a lot of psychic stamina”.

I've used some of Mica Levi's soundtrack to Jonathan Glazer's film Under TheSkin, as I feel there are echoes and resonances with The Man Who Fell ToEarth, both featuring big name stars going 'anonymous' as autistic alienson a strange unspecified mission. I also liked the idea of references coming from outside of my chosen time frame, which is part of the Bowie legacy, the sense of a certain kind of future in his work, that was built on by others who took it as a template for their own excursions. Jurgen Knieper's score for Wim Wenders' film, Wings Of Desire also appears in places as a subtle backwash, a shorthand for the last of pre-unification Berlin.

There's also the hauntological aspect of those futures that never arrived. As a teenager in the late 70s, Bowie's albums always felt like the future, alwaysforging ahead, a lightning rod for their time. They still do. A distorted, uncanny temporality is essayed at the start of the piece, where echoes of Space Oddity exist alongside 2001, a line from Lazarus (with its suggested/inevitable future), and a pre-cursor to Blackstar in the form of an Elvis song of the same name from 1960.

The title, taken from the final track on Diamond Dogs - Chant Of The Ever Circling Skeletal Family – is one which works on a broader scale toits specific reference, hinting at an astronomical dimension, a satellite inconstant orbit, both during and after his life, spinning in constant motion, anenergy field, a strange attractor, ever present. There is also a connection with the Buddhist belief in reincarnation, where the spirit remains and seeks a new body and a new life. Bowie's ashes were scattered in Bali in line with these beliefs. A new career in a new town – listening to new music: night andday. 

Teasing out the reincarnation trope a little further, apparently the midwife who delivered Bowie had a reputation as a clairvoyant, and said to his mother Peggy, "This child has been on earth before". Reliable anecdote or convenient fiction, it is a tantalising image to bolster the back story.

I have put together a programme ofsounds , recordings I’ve made over the last ten years , an overview of myoutput , ideal for Radio airplay . I started working under the Shaun Robert in1995 , after the demise of my factor X project . Sounds used are fromrecordings made by me , be they of objects tested as instrument of vice versa ;this is sound art , Musique Concrète , noisemusic . Places are evoked , drama isset , conceptual music intone the mindscape

colección de intercesión

001 ZOLOFT fromnonmajestic˜˜˜existential∞theism

002 Fronton from Magical Realism

003 Disentral from Spont

004 tongue from subversive

005 DasKopp from Distance Music

 all works from original albumson bandcamp

https://shaunrobert.bandcamp.com

Shaun Robert has been working withsound from an early age , a natural extension of play . Starting like many withdomestic tape recorder ; years finger poised on the pause button , making edits, skimming back with reverse to make collation transitions ; building deeprelationships with that aesthetic , within this interaction shows itself in allmy works . And the importance of sounds from analogue radio can not beunderstated.

Cross talk & frequency driftingpulls my heart strings. And Heavy use of Cassette Tape in Structure , making myown compilations developed into making my own works . And relating to loops andrough editing , audio drop outs

A Sonic Organic

“I DIG COSMIC MUSIC WITH ROCKS OFF…  it feels hip to stay forever eternal in the house of mirrors& emerge on the cyclone. coney island baby bataille. there's a dimensionality of miracles herein, we were born on earth...as humans. We hear the inimitable Dylan Nyoukis and the one and only OG Alan Bishop. these heads are perfect jam vehicles to hang with Laurent. Then there's the paramour lady Catherine Hershey, forever muse…roast tongue. brand new language, brave nu world. we're in the "Mauve Zone", where is bananafish? hearing is believing. a transport to future analog and digital dialup. call this dude, he's beyond rap. what a crazyf ucking life.” -- Matt "MV" Valentine; Guilford, VT;spring 2016.  

Since 2004, Èlg (LaurentGérard) has drawn concentric sound spirals made of musical pipes and entrails. He uses an arsenal of instruments and methods, constantly renewed while building improbable bridges between musique concrete and French song-writing, cartoon-like radiophonic creations and cosmic pop as well as lo-fi Dada-esque experimentation with electronic tentacles. Èlg is half of the electronic botanic duo Opera Mort, and a third of big band trios Orgue Agnes (with the members of Kaumwald)and Reines d'Angleterre (with Jo Tanz and GhédaliaTazartes). He's had albums released by Alter, Kraak, Hundebiss Recordsamong others.  He has also created the radio series "Amiral Prose" for LYL Radio (withguests as Oren Ambarchi, Laetitia Sadier, Anne Laplantine amongst others). This series has been nominated in the radio festivals "Longueur d'Ondes"and "Phonurgia Festival" in France.

Released by the Nashazphone label.

https://soundcloud.com/lg2-3

https://lachimie.bandcamp.com/

https://www.youtube.com/watch?v=jUcWVRbQnR0

https://www.discogs.com/label/72950-Nashazphone

1. Ralph Lewis and Illinois String Academy Music Composition Class (Emily Wilson, D.J. Wang, Samuel Fifield Larsen, and Keshav Gandhi) - Joyous Hippopotamus                    

Joyous Hippopotamus is a first time, collaborative adventure into radio art by Illinois String Academy music composition students. While some members of the group focused on recording and manipulating found objects, others explored howto incorporate skills they already had like piano playing into this moreflexible medium. The title captures the sense of fun in the madcap moments during the production when the classmates constantly switched through a keyboard’s MIDI instruments as Wang played. The resulting cartoonish, lumbering energy in the work is full of the gleeful curiosity at the heart of a wonderful first artistic venture.

During the 2018-2019 school year, Illinois String Academy music composition students Emily Wilson, D.J. Wang, Samuel Fifield Larsen, and Keshav Gandhi investigated some of the different creative practices in today’s world. As part of this, they have explored radio art and shared their collaborative work on Moonah Community Radio, dreamed up Fluxus pieces for new CELF, and written flute and piano duos and piano solos for Michelle Li and Mike McAndrew’s Duo Motive group.

2. Bedlam Suitcase - The Answer to Nothing                  

This spoken word piece is a collaboration between actress/ poet Sorcha Fox and the band Bedlam Suitcase. The poem reflects on the bitter fallout between two lives falling asunder. The words are written by Sorcha Fox and read by Padraig Meehan over an improvised soundscape by Tom Jamieson.

Bedlam Suitcase are a group from Sligo, on Ireland’s north west coast. They initially formed from a monthly Arts/Cabaret event called The Steampunk Club, and staying true to the ethos of those performances, mixes composed music with free improvisation and spoken word pieces.

 The band comprises of Padraig Meehan, Tom Jamieson and Tara Baoth Mooney, and they have collaborated with other Sligo artists, and also with musicians remotely in the making of their debut album The Fourth Wall, released in February 2020.

https://www.facebook.com/BedlamSuitcase/

 https://www.instagram.com/bedlamsuitcase/

 https://twitter.com/bedlamsuitcase

3. Martha Riva Palacio - An Atom Journey through Ether 

This piece is inspired in the No. 8 of Hilma af Klint’s Atom Series: “Atom on the ether plane is in constant change between rest and activity. At the rest it pulls itself inwards. This affects the earthly atom as giving of force.” I mix crickets chirping in different frequencies with the clink of Tibetan tingshas in order to create soundscapes that I subsequently modify and incorporate into the structure of a new piece. Fractals, subtle variations of the same theme: an atom moves along the thin line between order and chaos.

Mexican sound artist and author based in Mexico City. She’s part of the art, literature and science collective Cúmulo de Tesla and has presented her sound pieces in places such as the Faculty of Nuclear Sciences and the Centre of Complexity Studies at the UNAM, the Soundasaurus Festival, The Border Project at the Art Museum of the University of Arizona, The FKL International Symposium on Soundscapes and the WFAE world conferences among others.

4. Lesley Wilson and Lise Olsen - The Land that Forgot            

Written and performed by Lesley Wilson. Soundscape created by Lise Olsen.

 The Land that Forgot is a story of a world where forgetting is at epidemic levels: The reasons for forgetting are complex but the consequence sare that the land, and all that lives on it, is dying. However, in this world lives an old woman who knows the secrets of the land, the songs of its soul and a way of saving it. This collaborative work was produced using a poem written and performed by Lesley Wilson, and a soundscape created by Lise Olsen. The sound weaves together the story with field-recordings and an original score by musician Ailie Robertson. 

Lesley Wilson is a Perthshire based playwright whose work has been read and performed at theatres across Scotland. She creates stories about the world by questioning the interaction of people, place, time and space. Her writing brings into the light the voices and stories of those who are often invisible and unheard.  

 Lise Olsen is a responsive artist who works in-between a sphere of space and the sonic. She is a Ph.D. candidate in Sonic Arts at the University of Aberdeen; presenting her work at many Scottish events, her research explores immersive soundscapes and the embodied experience of the in-between. 

5. MISC -  Exquisite Corpse      

The piece is a project formed around a technique born from the French Surrealist movement, where individual artists are asked to create a continuation of a prior segment of work without being able to see the entire scope of the piece with which they are working. Recorded separately during lockdown, our group wished to explore this concept by transcribing to sonic approaches, where each contributor can only hear the previous participants 20 second segment, attempting to maintain some element of musical balance, which is where the real interest lies.

MISC is a Manchester based collaborative focused on interactive methods within composition. We are primarily composed of musicians working within the field of electronic music and synthesis, but not exclusively. The group originated from a series of monthly sessions where Manchester based musicians would convene to share new music that they had discovered to experience the listening process collectively.

 6. Shaun Robert - Emotional Perception

Shaun Robert has been working with sound from an early age , a natural extension of play . Starting like many with domestic tape recorder ; years finger poised on the pause button , making edits , skimming back with reverse to make collation transitions ; building deep relationships with that aesthetic, within this interaction shows itself in all my works . And the importance of sounds from analogue radio can not be understated.

Cross talk & frequency drifting pulls my heart strings. And Heavy use of Cassette Tape in Structure , making my own compilations developed into making my own works . And relating to loops and rough editing , audio drop outs

A Sonic Organic

https://shaunrobert.bandcamp.com

Gal and Schreiner planned to meet and play music after not seeing each other for over
ten years. But the newly imposed Covid -19 lock down during March made the meeting impossible. Being at home, they sent each other sounds dug up from personal archives. Material such as recorded memories of distante nvironments made in past travels and shortwave radio sounds recalling distance communications. These were incorporated into their instrumental setups in a process that became a sort of a ball game where they made
up the rules as they went along, affecting every aspect of the sound piece.

Bernhard Schreiner studied at the Academy of Fine Art in Frankfurt with the avant-garde film artist Peter Kubelka. Schreiner's work is spread over diverse media such as sound, photography, film, and installation. The phantom kind of sound is somehow central, expressed either ins ound installations or on silk-screen prints and photographs, which the artist additionally connects to the 'spirit photography' of the late 19th century. In the very manner Schreiner manipulates images of famous musicians such as John Coltrane or Glenn Gould.

http://www.baskaru.com/bernhard_schreiner.htm

 DaniGal (1975, Jerusalem) lives and works in Berlin. He studied at Bezalel Academy for Art and Design in Jerusalem, Staatliche Hochschule für Bildende Künste Stäadelschule in Frankfurt and in Cooper Union in New York. His films and art installations have been shown at the 54th VeniceBiennale (2011), Istanbul Biennale (2011), New Museum New York (2012),Kunsthalle St. Gallen Switzerland (2013), The Jewish Museum New York (2014),Berlinale Forum Expanded (2014), Kunsthaus Zurich (2015) Kunsthalle Wien(2015), Documenta 14 (2017), Centre Pompidou (2018) and at Club TransMedialeFestival Berlin (2020).

dani-gal.com

In this program Ann Antidote and Lun Ário from the collective The Strange Life of the Savages speak about one of their favourite topics: japanese bondage, some aspects of its history, making it feminist and non-hierarchical,community, queering it out, or how to do it safely.

Ann Antidote is an autodidact DIY artist, active in the fields of bondage,video,performance, sound and landscape art. She has been active in advocating polyamorous, queer and kinky/sex-positive lifestyles as respect-deserving options. This work includes teaching, performance,video,and installation/landscape art, in Berlin, where she lives, and beyond.

Lun Áriois a queer sex-positive DIY performer artist based in Berlin. Lun Ário is doing burlesque performance, making movies and teaching shibari since he moved to Berlin in 2009. Lun is committed to a DIY,low-budget aesthetic.

http://www.strangesavagelives.net

The seventh in a series of nine Clastic Compositions, 7 is the superimposition of the three preceding works,virtually set inside a fiction of the room I was in at the time of creation.

 Matt Byrd has been making recordssince hearing The Beatles and Stockhausen as a kid, records of and in between Big Concept Art Rock Albums and Electronic Suites and Stellar Emissions like the numbered Clastic Compositions 1-9. As the feeling of the end of the world draws nigh, he’s become focused on collaborative beat/noise-work, field recording, and the piano.

mattbyrd.bandcamp.com

“Listening Experience” is an hour-long presentation that airs monthly on Resonance Extra.It is a platform to present audio experiments and musical creations, that are typically organised around a theme. The ever-present question is “What does it mean to listen? What is listenable?”.

 Matt Burnett is a sound artist / sound designer based in Berlin.

Twitter:@mbmusicBerlin

Bandcamp:https://mattburnett.bandcamp.com/

Worker-artists convene a hive broadcast of indiscriminately gathered sound-pollen, transmitting codified messages to kindred folk. 

Each week a potent gang of sound artists are at play, exploring whatever is on their minds. Style guide: Anything goes

Knut Aufermann & Sarah Washington (Ürzig) http://www.mobile-radio.net


Xentos Fray Bentos (Broughton) http://www.discogs.com/artist/xentos


Frauke Berg (Düsseldorf) http://www.fraukeberg.de 


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de


DinahBird (Paris) http://www.bird-renoult.net/dinah-bird 


dieb13 & Billy Roisz (Vienna) http://dieb13.klingt.org & http://billyroisz.klingt.org


Anna Friz (Santa Cruz) http://nicelittlestatic.com 


Ralf Schreiber (Cologne) http://www.ralfschreiber.com


Live broadcast 7th May 2020 on Resonance Extra, Soundart Radio, WGXC,Wave Farm & π-node. Later on Radio ARA, JET FM & Radio Panik.

Produced by Mobile Radio with support from π-node.

This is a documentary piecefrom the field recordist and sound artist Toni Dimitrov, dedicated to a city.This time the sketches are recorded in Milan during his stay for the Radio Cityfestival in spring 2018. The recordings from the Duomo metro station, Sforza Castle, Orto Botanico di Brera, Santa Maria del Carmine church, escalators, bars, parks, etc., interweave subtly, blurring the line between field recordingand sound art. 

Toni Dimitrov a multimedia artist, cultural explorer, radio activist working in the field of radio and media for 20 years, philosopher, communicologist and passionate mountain climber, but also sound designer, graphic designer, DJ, organizer, label owner, based in Skopje, Macedonia. He is doing various projects related to sound/art,r adio, field recordings, he is curating the labels post global recordings and élan vital recordings, but also various sound/art events. His radio programs broadcasts on music radio Kanal 103 and are dedicated to contemporaryelectronic music, soundscape, field recordings but also discussing various socio/cultural/political topics. At the moment working on projects related to political analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

Initially devised as a two part show for Resonance 104.4 fm, this is a sonic patchwork that brings together the voices of many of my friends and collaborators (recorded across space and time over the telephone during lockdown), in a cathartic act of release, a gesture of collectivity on the airwaves, a celebration of the radio’s power to gather us together against the odds of circumstance and geography.

Featuring, amongst many: Sukhdev Sandhu/ Andrea Zimmerman/ Gareth Evans/ a bird chorus recorded by Helena Hunter and Mark Peter Wright/ Joanna Ebenstein/ Jeremy Reed/ Bird Radio/ Brian Catling

Chiara Ambrosio- Biography

Chiara Ambrosio is a London-based filmmaker andvisual artist, working with film, photography, sound and printed matter toexplore the ways in which we perceive, remember, articulate and preservepersonal and collective histories and sense of place.

Her current ongoing project “Raft” uses film, radio broadcast and printedmatter to imagine the city of London as a stage where encounters with realpeople and places speak to the role of local culture and applied imagination inshaping the identity of the city, creating a political and poetic form ofresistance of the marginal, small and silenced.

1. Neil Verma -    That’s What I’d Do

Found sounds from Pike Place Market in Seattle, recorded from 4:30 am until dawn, one Saturday in March 2019. Gulls, ice shovels, paper bags, rusty doors, freezers,even a grunting sea lion. Recorded with a Sony PCM D-100, a good friend, and a bag of fresh donuts. This is the sequel to “What’s it Going to Be, Numbers?/I Smell Like Fish Every Day,” a piece about another fish market that aired on Radiophrenia in 2019.

Neil Verma is a scholar and sound recordist in Chicago, where he serves as assistant professor of sound studies at Northwestern University. His books include Theater of the Mind:Imagination Aesthetics and American Radio Drama, and Indian Sound Cultures, Indian Sound Citizenship. His experimental sound recordings have aired on Radiophrenia, Resonance FM and WaveFarm, among other venues. He is editor of the RadioDoc Review and founder of the Great Lakes Association for Sound Studies.

2. Sylvie Chenard - Marcher sur l’eau

Marcher sur l'eau est un montage d'art sonore pour savourer, trouver de la musique lorsque le temps nous prend, qu'on avance à l'endroit, à l'envers du voyage, que des voix, des machines de l'été, du fleuve.

3. Sweaetshops  -  An introdoctrination to We Eagerly Await Your Complete Submission No 12

Have you got X? That certain “something”?Have you been biding “your time”? Do you just want to be “up there”? You know you do. You have always known. We have always known and in all ways known. Your dreams. Your deepest desires. Your moment. We are here to take you there on the next step.

We Eagerly Await Your Complete Submission is an ongoing multidisciplinary work about the parallels between the rhetoric of religious cults and reality TV. Created from a mixture of audition tapes,self-help cassettes and show business jargon.

 Sweætshops® is a multipersonality “conglomerate” and multidisciplinary artist, whose practise is focused on creating allegory out of the waste of 21st century capitalism using sound and performance. Their name is a portmanteau of the two extremes of our current era. They hold a sonic arts MMus, are the 2019 recipient of the BUZZCUT Emerging Artist Award and have been both banned from the Edinburgh Fringe and simultaneously legally married/divorced for Brexit. They have played various festivals including Listen Again and Meadows Festival. Their work has also been featured on compilations by various labels including Violet Comet and DeadHound Records. 

4. Alison Carlier and Amanda Loomes - Disorder (extract from Spiky Punk)

Spiky Black was a collaborative digital audio work made for Metal’s digital art park - NetPark in Chalkwell Park, Southend, UK. We worked with Chalkwell Park’s gardeners, Peter Beales rose nursery in Norfolk, NetPark Wellbeing Project and Leigh Horticultural Society. Spiky Black playfully shifts register from the pragmatic to the poetic, incorporating language sourced from punk bands, historic rose catalogues, horticultural terminology and first person interviews. A retired park gardener inspired the title and concept for the artwork - he grew up a punk and imagined naming a rose ‘Spiky Black’ in memory of his youth. 'Disorder' features names of punk bands and roses, grafted together over English fairground music typical of the early 20th Century when the rose garden was first planted.                                          

5. Anette Gellein - Crystalizing         

From Cinema For Lonely Souls a compilation of sound works,more minimal than my previous work. It is composed by a synth programmed in Max/Msp and the analog synth Moog Mother 32. The sound compositions is both based on very fixed parameters as well as analog improvisation. This collection of work is especially inspired by more minimal electronic composers,such as for example Eliane Radigue.  

6. Christian Banasik - Glass Cutter 

 This piece was composed using normal tableware, such as glasses, cups and saucers, as well as other kitchen sounds. The rhythms of these original short actions have an influence on the form development and the electronic manipulations. The idea was to create a sound miniature which consists of real daily life parts which are heavily manipulated on a musical level. The algorithmic calculated patterns control the development and position of the short sampled "domestic actions" during the piece and the change of single sound parameters.

Christian Banasik - studied composition and live-electronics with Gunther Becker and
Dimitri Terzakis at the Robert Schumann Academy of Music in Dusseldorf and with Hans
Zender at the University of Music and Performing Arts in Frankfurt. His instrumental and
electronic works have been featured in concerts and radio programs throughout Europe as
well as in the Americas, Asia, and Australia. He has received national and international music awards and scholarships. Banasik is lecturer for Audio Visual Design at the University for Applied Sciences / Peter Behrens School of Arts and the artistic director of the Computer Music Studio and the EM composition class of the Clara Schumann Music School in Dusseldorf/Germany. Beside live electronics and computer music, he has produced works for tape, radio plays and film soundtracks.

'Through a combination of Scottish archive footage dating from the1940’s, ambient music and field recordings from the Outer Hebrides, this dream-like piece is intended to transport the listener to a journey through rural Scotland, encountering tales of folklore and tradition told by the people themselves. In our modern world where digital storytelling has all but taken the place of our oral traditions, this piece aims to act as a time capsule left by the common people of the past, of the long forgotten tales and environments that shaped their world, and eventually our own.'

Fraser MacBeath is a sound artist, music producer and current student at The Glasgow School of Art who hails from the Isle of Lewis. Using field recordings and archive footage, his hometown in the Outer Hebrides plays a central role in the work he produces. Fraser at present works solely with material gathered throughout rural Scotland, using the surroundings as the inspiration and very texture of his work. Creating contemporary sounds that showcase Scottish Island culture through the lens of his personal relationship with it.'

https://doedeer1.bandcamp.com/releases

1.  David Snow – Quantum Fields

In 1920, André Breton and Philippe Soupault published Les champs magnétiques ("The magnetic fields"), generally acknowledged to be the first major work of literary surrealism. Breton and Soupault composed the text by means of automatic writing, a technique Soupault praised as "granting the spirit a liberty which we had known only in our dreams... freeing ourselves from all logical apparatus."That same ego-negating poetic impulse currently finds expression in the use of computers to generate verse. The lyrics that comprise The quantum fields were generated using McPoet by Chris F. Westbury and The Surrealist Compliment Generator by Banjo Ruthless Creations.

The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the Banda Municipal de Bilbao at the Euskalduna Palace in Bilbao, The New Juilliard Ensemble at the Museum of Modern Art in New York, and many other artists and ensembles internationally. His fixed media audio and visual works have been performed at the Musinfo Journées Art & Science Festival in Bourges, the FestivalExhibitronic in Strasbourg, the Festival Internacional de Video Arte y MúsicaVisual in Mexico City, the Sound Thought Festival in Glasgow, and Echofluxx in Prague.

davidsnowmusic.org

 2. Gerald Fiebig & Michael Herbst -Herbstblätter III

Thetitle is both a pun on the name of the author of the featured texts – it literally means „Herbst's sheets“ – and the German word for „autumn leaves“.Through extreme time-stretching, the 'authentic' voice of the author-subject speaking his text (actually, lists of very heterogeneous German words) is turned into an 'a signifying material flux' (Christoph Cox), thus blurring the boundaries between meaningful speech, noise, and melody. Other fragments of speech function as rhythmic units. In this way, the piece radicalises certain tendencies of radio art int he tradition of concrete poetry.

 Gerald Fiebig's radiophonic work has been broadcast on “Radiophrenia” as well as various public and independent radio stations in Australia, Austria, the Czech Republic, Germany, Israel, Portugal,and Switzerland. Michael Herbst edited the art zine “Der Anbau” and is active as a writer and photographer. Since2012, Gerald Fiebig has realised various sound pieces based on Herbst's text and voice: “Herbstblätter I” for live performance and “Herbstblätter II” for fixed media. Their collaboration also includes a photo series by Herbst with texts by Fiebig.

http://www.geraldfiebig.net

3. Hannah Kemp Welch - A Seat at the Table

A Seat at the Table is an audio work produced through social practice, with female-identifying anti-war activists from across the globe. The title of the work refers to the trope that positions nuclear weapons as necessary to secure membership of a global decision-making group. The work is composed from recordings made in the UK and in Japan during the summer of 2019. Sounds include the voices of Japanese Hibakusha (survivors of the nuclear bomb), and field recordings collected at locations such as the A-bomb dome and hospitals caring for first generation Hibakusha.

Hannah Kemp-Welch has a socially engaged practice that is concerned with listening. Working with diverse constituencies to record conversations, stories and local histories,works emerge through the voices of participants, layered with environmental and  imagined sounds. Hannah makes works for broadcast, installation andperformance, using documentation such as zines to keep open possibilities for collective action and social change. Hannah has worked with communities across the UK, and shown works in arts spaces including Middlesbrough Institute ofModern Art, Nottingham Contemporary, Tate Modern, Barbican and Flat Time House.

sound-art-hannah.com

4. Jan Van Den Dobbelsteen - In Media Res A-4

This work especially made for Radiophrenia. Result of a transformation from a sculpture about type, typography, language alchemy ,sound and pronunciation of groups of type-characters.

Jan Van Den Dobbelsteen is a Eindhoven The Netherlands based interdisciplinary artist who has exhibited, curated programs and exhibitions, lectured and performed internationally. He is deeply involved with both acoustic and visual media.Publishing on his record and book label Cosmic Volume. http://www.iae.nl/users/jada

5.  Jess Shane - Nicola Talkback

My first radio documentary was anon-narrated piece that followed a gymnast in the wake of quitting her sportdue to injury. When it aired, I sent it to my subject, Nicola, then 16 years old. Nicola listened, then told me she hated it. This has haunted my documentary practice ever since.

Nicola, Talkback is an audio piece about what it means to be in, and to tell, someone else's story. It's based around a conversation between Nicola and I about the process of making the original documentary, and features outtakes from the original doc.

Jess Shane is a Canadian audio producer, whose work has aired on BBC's Short Cuts, WBEZ’s Re:Sound, and across the CBC network. She has presented work at Open City Documentary Festival, Audiocraft, Hearsay Audio Festival, the International Features Conference, and On Air Fest. Jess is a co-founder of Constellations, a project for sound arta nd experimental audio.

dead beside her son upon a heap of feathers which were scattered over.

a 'support worker' once said what dya need booksfor yr homeless?  our revenge was 13 years of reading, graduating from the open university after 13 years.  heres experimental radio from fragments including responses to engels condition of the working class (one of the most importantcourse books) - 2020 is 200th anniversary of engels birth.  plus 1929 song how can a poor person stand such times & live, music box playing chant des partisans (french resistance anthem) plus (post)-industrial locations engels wrote about. part of our project 'provoked to madness by the brutality of wealth' which includes solo show

 night gale. 

nightingales move across europe, africa and asia to sing hard-won songs. woodlands are now managed. there is always is new growth.   during our worst sectioning (before that homeless hostel) we could only cope with watching trees yet had to deal with insanities of staff, torn books, press headlines - not word-salad but ward-salad.  we finally escaped to sit on a rock in middle of river tees (above middleton-in-tees), watch milky way and sing our version of fiddle and drum (a joni mitchell song we knew onlyfrom cassette of june tabor in the eighties). new songs are needed

 gobscure.   

sound-art in 2020 c.e. includes ink any bodyalbum part of our rose carved in rain solo exhibition with newbridgeproject gateshead, supported by curious arts; with loves raging much turnswas commissioned by arts&heritage and is for our museum of homelessness colleagues; ships-ov-fool (online)was a GIFT: Gateshead InternationalFestival of Theatre commission, supported by Sage Gateshead summer studioresidency and sound&music award.  touching the flood -music-theatre about our earliest childhood memory (touching the river tees inflood) was commissioned by sage gateshead for livestream.  we received another sound&music award under lockdown. 

https://gobscure.wixsite.com/provoked

https://soundcloud.com/gobscure/

My name is Stefan Neville & I work at Mapura Studios in Auckland, New Zealand, We are a creative space forpeople living with disability & diversity. 

 http://www.mapurastudios.org.nz/

 During May this year our programs had to happen remotely online and I produced a series of "PANDEMIC ZOOMCLASS PODCASTS" from recordings of the sessions. They captured students & tutors adapting to the situation & connecting through conversation,artwork, ideas, poetry & music. Framed by technical difficulties, unintelligibility & bad connections becoming musical refrains, you willhear us wrestling with a scary time & keeping each other company.

John Wilde is a writer, director,performer and sound artist who thinks that the lockdown would suit him just fine if it wasn’t for that pesky virus. John is a regular if infrequent contributor to Lights Out Listening Group and is currently enjoying working as part of Script to Stage Renfrewshire with scripts from new writers. John also contributes to Writers Block Radio Hour for broadcast.

Embodied through words, sounds and voice “From My Window: Dreams, Hopes and Disappointments” is a sound collage that explores field recordings taken from the windowsills in my house, escapes from New York City and reflections on what it means to dream through chaos.

Rena Anakwe is an interdisciplinary artist and performer working primarily with sound, visuals, and scent. Exploring intersections between traditional healing practices, spirituality and performance, she creates works focused on sensory-based, experiential interactions using creative technology. 

Currently, Rena is a 2020–21 resident of the Abrons Arts Center AIRspace performance program. She was also a 2019 ISSUE Project Room artist-in-residence, a 2019 Abrons Arts Center Sound Series commissioned artist, and a 2018 Signal Culture artist-in-residence. She has collaborated, produced, and shown work at New York City institutions including: Dia Foundation, Fridman Gallery, Knockdown Center, Lincoln Center, MoMA PS1, CultureHub, Pioneer Works, and Montez Press Radio. Most recently, under the moniker A Space for Sound, Anakwe released the first in an ongoing audio series titled “Sound Bath Mixtape vol. 1”, through the New York City-based label and collective PTP. 

Rena is based in Brooklyn, New York, by way of Nigeria and Canada.

http://www.aspaceforsound.com

Close to retirement Bethany’s incredible career and identity were at odds, as a transgender woman with a background in military and commercial diving. In this short podcast Bethany shares stories and reflects on her career which took place in the most male-dominated arenas: RAF, commercial diving in the North Sea, her own engineering consultancy within the Oil, Gas & Nuclear Power Industries.  She explores what it meant to be a trans woman surrounded by ‘alpha males’ and how she negotiated gender, judgment,injury and self discovery.

Maria (Improviser) and Kate (Visual Artist) are an interdisciplinary duo who work with political and social issues in a perpetually changing world. Together they collaborated on Painting Music a production which uses Artificial Intelligence to create music from live-painted drawing; and The making of a feminist inspired by the complex entanglement of human and computer ‘intelligence’ in a world designed for men  (created under COVID-19quarantine). Bethany is one story from In the Bell their current cross-disciplinary project which  encompasses live painting and music interwoven with verbatim narrative investigating identity, gender, andsexuality.

http://katesteenhauer.com/in-the-bell

https://www.mariasappho.com

Originating in 2015 at Kingston School of Art’s Contemporary Art Research Centre, artist group We Are Publication(WAP) has published in the form of the radio broadcast Diagram of anHour (Resonance FM, 2016), a vinyl record (Curved Pressing, 2017), the handmade rug Notes on a Carpet (Five Years, London / FocalPoint Gallery, Southend-on-Sea / London Art Book Fair, Whitechapel Gallery,2017-2018), the exhibition and soundscape We.Are.Cut.Up. (PrattInstitute, New York / Radiophrenia, CCA Glasgow, 2019) and the exhibition andperformance programme  t h e  H  O L  D  (Stanley Picker Gallery, Kingston,2019).

 http://www.wearepublication.com

Marjorie Van Halteren (USA/France) voice, keyboard, electronics, text; Christian Vasseur (France), guitar, lute, electronics, voice; and Philippe Lenglet (France), guitarist, electronics.

SNOWMTT is performing  their piece, "Four Dreams," live and semi-improvisational.

http://electroacousticalpoeticalsociety.com/

https://christianvasseur.weebly.com/

https://christianvasseur.bandcamp.com/

http://muzzix.info/?lang=fr

http://improphoto.blogspot.com/

Mineral Disobedience is an experimental soundscape inspired by an unofficial war waged in Sydney, Australia. Known for its natural beauty, the Emerald city is experiencing a period of rampant development; mirroring the wider world. Industry leaders must increasingly engage with environmental concerns raised by the public, as has been demonstrated by the ongoing climate change protests. For the latter group, this is a deeply personal issue which must affect the way we all interact with nature forever; for the former, it seems climate collapse is an administrative nuisance rather than impending reality. I use this context as a starting point to explore how Human, Machine and Animal might interact if the machines and tools we use in our taming of Nature were given anthropomorphic voices. Field recordings of construction sites and the natural world intersect as the machinery rattles to life. How would the diggers, jackhammers, trucks, the frames of the skyscrapers themselves, interact with their surroundings if liberated from their day jobs? The minerals from the ground, re-moulded into the building blocks of humankind, would surely have some things to say.

The piece charts a loose journey through the life of such machines, including the monotony of the construction site, hearing the dazzling voices of many humans, a flirtation with the natural world, and an inevitable return to ordained duty. The natural resonances of these field recordings inform the melodic content of the piece, including the recurring, poignant melody.

Alexis Weaver is an electroacoustic composer based in Sydney, Australia. Born in the Shoalhaven, Alexis grew up learning flute, voice and harp before commencing study at the Sydney Conservatorium of Music in 2014. Now, she draws on her classical music upbringing in a slightly different way, creating whimsical and adventurous electroacoustic works which celebrate the emotive capabilities of sound. While her principal interest lies in composing fixed-media acousmatic music, she has also composed soundtracks for animations, short stories, radio, dance and theatre, and exhibited audio-visual installations.

Alexis is also co-founder of female composer collective lost+sound, who in 2018 launched a series of concerts celebrating established and emerging artists working in experimental music fields. ​

http://www.alexismarieweaver.com

https://alexismarieweaver.bandcamp.com/

https://soundcloud.com/alexis-marie-weaver

From a collection of 51 improvised' songs' on the piano, (which I can't play). They were recorded in a cottage onBute, which just happened to have a piano, and I'd brought my voice with me

Written and performed by Lesley Wilson. Soundscape created by Lise Olsen.

The Land that Forgot is a story of a world where forgetting is at epidemic levels: The reasons for forgetting are complex but the consequences are that the land, and all that lives on it, is dying. However, in this world lives an old woman who knows the secrets of the land, the songs of its soul and a way of saving it. This collaborative work was produced using a poem written and performed by Lesley Wilson, and a soundscape created by Lise Olsen. The sound weaves together the story with field-recordings and an original score by musician Ailie Robertson. 

Lesley Wilson is a Perthshire based playwright whose work has been read and performed at theatres across Scotland. She creates stories about the world by questioning the interaction of people, place, time and space. Her writing brings into the light the voices and stories of those who are often invisible and unheard.  

 Lise Olsen is a responsive artist who works in-between a sphere of space and the sonic. She is a Ph.D. candidate in Sonic Arts at theUniversity of Aberdeen; presenting her work at many Scottish events, her research explores immersive soundscapes and the embodied experience of the in-between.

https://liseolsengenerates.com/

Listening to Learning is an experimental soundwork assembled from interviews with practitioners in the Faculty of Education, Manchester Metropolitan University (MMU). Across fields of education, ethnography and geography, the work investigates listening within the context of learning, and explores various methods involved in sonic pedagogy. Voices are mixed with ambient recordings from the research center itself, MMU, interlinking the space in which listening takes place to an ecology of sensation, relations and praxis. The project was developed by Mark Peter Wright in collaboration Dr.Michael Gallagher in the Education and Social Research Institute (ESRI), MMU.

Mark Peter Wright is an artist-researcher working at the intersection of sound,ecology and contemporary art. His practice investigates relations of capture and mediation between humans and non humans, sites and technologies, observers and subjects. He is interested in listening as a critical, imaginative and interpretive methodology for situated practice-based knowledge. His work has been presented across international platforms and combines installation,broadcast, performance and writing.

https://markpeterwright.net/

https://twitter.com/markpeterwright

1. Panayiotis Kokoras- Qualia             

Qualia are claimed to be individual instances of subjective conscious experience. The way it feels to have mental states such as hearing frequencies at the lower threshold of human hearing or a piercing sound hearing a tone from a ship horn or the granularity of a recorded field recording. The motion and the meaning inherited in the sounds are not disconnected from the sounds and are not the reason for the sounds but are in fact the sound altogether. Energy movement and timbre become one sound source identification cause guessing sound energies gesture decoding and extra-musical connotations are not independent of the sound but vital internal components of it.

Kokoras is an internationally award-winning composer and computer music innovator. He is an Associate Professor in composition at the University of North Texas. Kokoras's sound compositions use timbre as the main element of form. His concept of "holophony" describes his goal that each independent sound (phonos) contributes equally into the synthesis of the total (holos). In both instrumental and electroacoustic writing his music calls upon a "virtuosity of sound," emphasizing the precise production of variable sound possibilities and the correct distinction between one timbre and another to convey the musical ideas and structure of the piece.

2. Henri Cachia - La Chenille         

Principalement un texte écrit par moi-même Henri Cachia avec un bruitage en général plutôt discret parfois brutal. En introduction trois secondes et en conclusion trois secondes de texte chanté.

3. Sweaetshops - An introdoctrination to We Eagerly Await Your Complete Submission No 9

Have you got X? That certain “something”? Have you been biding “your time”? Do you just want to be “up there”? You know you do. You have always known. We have always known and in all ways known. Your dreams. Your deepest desires. Your moment. We are here to take you there on the next step.

We Eagerly Await Your Complete Submission is an ongoing multidisciplinary work about the parallels between the rhetoric of religious cults and reality TV.  Created from a mixture of audition tapes,self-help cassettes and show business jargon.

Sweætshops® is a multipersonality“conglomerate” and multidisciplinary artist, whose practise is focused on creating allegory out of the waste of 21st century capitalism using sound and performance. Their name is a portmanteau of the two extremes of our current era. They hold a sonic arts MMus, are the 2019 recipient of the BUZZCUT Emerging Artist Award and have been both banned from the Edinburgh Fringe and simultaneously legally married/divorced for Brexit. They have played various festivals including Listen Again and Meadows Festival. Their work has also been featured on compilations by various labels including Violet Comet and Dead Hound Records. 

https://www.swextshops.io

4. Ivor Kallin - Sangs of Bute, Eh?  R_09_0104                                      

From a collection of 51 improvised 'songs' on the piano, (which I can't play).They were recorded in a cottage on Bute, which just happened to have a piano, and I'd brought my voice with me

5. Seth Gabrielsson - Carpet Monologue                        

‘Carpet Monologue’ is an electroacoustic work that builds on some aesthetic inquiries into musical gesture, stasis, and listener capacities for sonic micro-detail. The piece is centred around the timbral qualities of a Chinese 'Guzheng' harp, and is constructed like a large and continuous fabric comprised of but a few sonic elements both static and ever-changing.

Seth Gabrielsson is a composer and filmmaker from Sydney, Australia. His film and sound work explores the materiality of forms, acoustic sound, and celluloid film. He has composed for narrative film, radio theatre, and installation works, as well experimenting with his own short art films and audiovisual works.Currently studying composition at the Conservatorium of Music in Sydney. 

1. Kim Fox -  Joe Smith is for the April birds 

A collection of beats, birds and interview clips. The nat sounds of birds recorded in Egypt underlies the hip hop dominance with varying drum machines. Credits to: The Citizen DJ Project, Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division. Contains samples of "Off the record interview with Ashford and Simpson, [1986-1988?]-08-04" by Smith, Joe (1928-) (Interviewer), Ashford, Nickolas (Interviewee), Ashford & Simpson (Interviewee), and Simpson, Valerie (1948-) (Interviewee). Retrieved from Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.   

2. Barry Burns - Phenomena Barely Observed and Wrongly Explained   

3. Sweaetshops - Century©      

A 2 minute meditation on silence, made from machine frequencies captured at the Lady Haig Poppy Factory. It is one of the 2main poppy factories in the UK, it is staffed by disabled veterans producing 5million poppies per year. 

Sweætshops® is a multipersonality“conglomerate” and multidisciplinary artist, whose practise is focused on creating allegory out of the waste of 21st century capitalism using sound and performance. Their name is a portmanteau of the two extremes of our current era. They hold a sonic arts MMus, are the 2019 recipient of the BUZZCUT Emerging Artist Award and have been both banned from the Edinburgh Fringe and simultaneously legally married/divorced for Brexit. They have played variousf estivals including Listen Again and Meadows Festival. Their work has also been featured on compilations by various labels including Violet Comet and Dead Hound Records.

https://www.swextshops.io

4. Thomas Finbarr - The Pre-Hearing        

Composed as an introduction piece for Barcelona's 12 x 12Theatre Company's production of 'The Trial'. The Pre-Hearing is created from manipulated recordings of the cast rehearsing the work. It attempts to convey the menace, disorientation and paranoia inherent in the work. 

5. - Anne Line Drocourt - La Derniere Personne sur Terre       

This audio work focuses on memory, nostalgia, psychosis, faith and satire. Pushing and pulling the process of sampling, collage, cutup techniques and repetition into shattered fragments from some knackered audio pen-womb-man-ship shape shift...

 ANTI DEPRESSANTWEIGHT GAIN>NIGHTMAREISH GHOUL SYNDROME> CAELMUND THE LOCAL LEPER >CROUCHED ON A TOILET BOWL>PISSING HAPPY THOUGHTS >IN A SAD BATHWOOM>INA MULTIPLE RADIO PERSONALITY SYNDROME S> TALKBACK2TVUDO>RRR>RADIO RUB>BBB>BISHSCARE>>>A MISERABLE PRICK, NO MATES, NO HAIR>>>

This submission has been created from only two Tascam DR05 samples taken on the same day/night and then edited in Ableton live and with only a simple delay applied after arranging and chopping.  The context is a day/night of drinking culminating in the unknown quantity of getting from where you are to where home is with mind repetition, in skull noise loops, drunk yelps and squawking laughter with occasional full sentences and empty street drama.  The outcome is an evolving echo and delay noise based on the original untreated samples input with periods of flat panning then left/right jumping and back to a conversation started but not finished an hour ago.  

Avid Radiophrenia follower and contributor with a sonic background in limited DJing and performances undertaken in Edinburgh and Glasgow throughout the 00’s+teens at various ultimately doomed alternative/experimental club nights.  Keen street sound and ambience recorder to record the mundane world around us.  Now former keyboard player with Motherwell grounded bleakist indiepop band the Just Joans.  One half of Johns Indie Disco the experimental post ArabStrap/Mogwai/Spiritualized insular late night recording duo.  Main musical outlet is now often through the Ladywell Lout moniker and is working on the completion of the 3rd LWL album 'Schemeadelic' to complete the unknown trilogy.

https://www.facebook.com/theLadywellLout/

https://twitter.com/ladywelllout

https://theladywelllout.bandcamp.com/

https://open.spotify.com/artist/3RkKiio19f5Wus0I3PyIU6 

A certain song by a certain Glasgow band,stretched to 1/60 of the original speed with custom software.

Alex Ness is a composer, sound artist, and audio programmer living in San Francisco.  He enjoys listening to time-stretched recordings and is the proud inventor of the"NessStretch", an algorithm for extreme time-stretching of audio.  Other recent projects include "Whether we like it or not", a collection of pieces (some real, some imaginary) for pianist Marta Finkelštein (presented at the Festivalis Druskomanija in Lithuania), and "Contrafacts", a resynthesis of three pop songs composed for the San Francisco Composers Chamber Orchestra.  He holds music degrees from Harvard University and New York University.

NessStretch software: https://github.com/asness/TimeStretch/

Worker-artists convene a hive broadcast of indiscriminately gathered sound-pollen, transmitting codified messages to kindred folk. 

Each week a potent gang of sound artists are at play, exploring whatever is on their minds. Style guide: Anything goes

Knut Aufermann & Sarah Washington (Ürzig) http://www.mobile-radio.net


Xentos Fray Bentos (Broughton) http://www.discogs.com/artist/xentos


Frauke Berg (Düsseldorf) http://www.fraukeberg.de 


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de


DinahBird (Paris) http://www.bird-renoult.net/dinah-bird 


dieb13 & Billy Roisz (Vienna) http://dieb13.klingt.org & http://billyroisz.klingt.org


Anna Friz (Santa Cruz) http://nicelittlestatic.com 


Ralf Schreiber (Cologne) http://www.ralfschreiber.com

Special live guest Dr. Fortunatus Keller

Live broadcast 14th May 2020 on Resonance Extra,Soundart Radio, WGXC, Wave Farm & π-node. Later on Radio ARA, JET FM, RadioPanik & Radio Orange.

Produced by Mobile Radio with support from π-node.

„Vögel sind komische Vögel /Birds Are Funny Birds“ is a sonic walk through the world of birdsong and birdrelated music. „Komischer Vogel“ is an odd person in german.

It starts friendly andpeaceful, but the mood is changing constantly. We hear recordings made by birdwatchers a hundred years ago, chirping synthesizers, professional whistlers andbirdcall imitators. Eric Dolphy and Charlie Parker duel with some birds from Venezuela and in the end no one can tell if the sounds are made by animals or men. The whole 60 Minutes are accompanied by an acoustic drone of birdsongs.

My Name is Till Kober when Iam an independent radio presenter on „ByteFM“ and german public radio„Deutschlandfunk Kultur“, I am Naitsabes Rebok when I play music. I am 46 years old and live in Berlin with my wife and my son. For breakfast I like some egg and some tea, but most of all I like to talk about me.

https://johnsteam.bandcamp.com/album/little-naitsabes-rebok-gary-flanell-split-tape

https://www.byte.fm/sendungen/brown-rice/

https://www.byte.fm/sendungen/bordermusic/

1. Kirsten Millar – M8 + M8s

During lockdown civic spaces changed; with reduced noise and air pollution we were able to collectively reimagine cities with roads and streets becoming social spaces. This year the Kingston Bridge has been proposed as a listed structure. Should we be looking beyond the bridge’s functionality and reimagine its purpose?  There is a correlation between air pollution and increased risk of COVID-19. With a lack of public space in the city centre should we reconsider how our cities are built and who they benefit? This work comprises a conversation over dinner on Glasgow’s built environment and sounds of the Kingston Bridge.

My current practice takes place outwith a studio space working with resourceful and economical materials. By working with pre fabricated industrial materials, as well as captured and live sounds, the work moves away from the idea of craft, creating installations that translate exterior landscapes into alternate spaces. I often look into the socio-political history of site and place bringing it back to bodily experiences seeing how this affects our minds/health and form our ideas of place.

2. Jess Shane - The Juicy Part

In web content and documentary makers, presenters tend to contextualize their traumatic experiences in terms of traditional narrative arcs; suspense, climax,and resolution. Often, this results in commodification; trauma becomes 'story’ and the underpinning systems of power fall to the wayside. While sharing details of trauma is valuable, sculpting them to fit a medium where views are money is different from recounting them to a therapist. The Juicy Part consists of segments of confessional YouTube videos so as to emphasize the disconnect between people relaying their trauma with sincerity, while simultaneously using entertainment tropes to entice listeners to lean in.

3.  Amanda Brannin - Coyotes

A summer evening postcard from Texas.

An artist currently residing in Austin, though different places while asleep. Sound for in-between spaces.

https://soundcloud.com/amandabrannin

4.     Diana Duta – IOU (excerpt)

In 1867, Alexander Melville Bell published his Visible Speech, a visual phonetic alphabet mapping the position of the lips, throat and tongue as they produce speech, originally intended to help deaf people articulate language. Diana Duta has created a series of circular scripts containing aleatory sequences fromBell's alphabet - mixing verbal and non-verbal sounds, human and non-human, such as contempt, annoyance, pain, sawing wood, or the grunt of a pig - which were interpreted by five voice performers: camille gérenton, Simone Basani, Barry Fitzgerald, Myriam Van Imschoot and Marcus Bergner and blended together in this composition.

Diana Duta is an artist based in Brussels since 2016. Her project Jambes is a recording studio commissioning new work by artists interested in experimenting with sound and voice.

http://dianaduta.com

http://jaaambes.be

5. Katie Currie – Extractor Fantasia

During the peak of lockdown I struggled a lot with the lack of true human contact. I asked the people I would usually have around me to send recordings of sounds from their homes or workplaces, allowing me to enter into their spaces with them. These individual sounds have been arranged together like all the instruments in an orchestra - a symphony of isolation.

 https://www.katiecurrie.co.uk/

6. Beverley Hood - We began as part of the body

We began as part of the body is a spoken word sound piece using speech synthesis, inspired by the organotypic artificial skin cells, cultivated within the eczema genetic research laboratory of Professor Sara Brown (University of Dundee). Scripted from the point of view of the artificial skin cells, which are both real and synthetic, it was written in response to interviews with the lab staff,conducted as part of an artist residency. The piece leads the audience through the cells’ journey, during their short, precious, three weeks long 'in-vitro' life, from operating theatre to lab, and finally to disposal.

Beverley Hood is an artist and Reader in Technological Embodiment & Creative Practice, at the University of Edinburgh. Since the mid 1990’s she has investigated the impact of technology and science on human experience through the creation of digital media and performance arts projects, and writing. She works collaboratively, developing projects involving a range of practitioners, including medical researchers, scientists, writers,technologists, dancers, actors and composers. Her work has been performed and exhibited at venues and events internationally including: Stockholm Kulturhuser; V&A Digital Futures;Talbot Rice Gallery; Edinburgh Art Festival;ISEA; CCA Glasgow; Institute of Contemporary Art, London.

7. Isabelle Stragliati – The Fire that Never Stops

Chants, an accent, atmospheres already overheard or dreamed of, boat engines and lapping: we are in India, on the water, by the water. We come to die here. Place of destination and place of passage, of the great passage to a mystical afterlife, this city with multiple names also bears the lesser known name of Maha Shmashan Puri, "the fire that never stops".

Isa Stragliati is a sound artist, radio producer, composer and dj living in Grenoble.

http://noearnosound.net

8. Lydia Davies - Dog hairs

The voice recounts a series of interconnected vignettes of conversations, thoughts and
encounters. These segments are formed out of forgotten objects, bits of debris, receptacles and cavities, and draw on the embodied experiences of the narrator - a sideways glance, an object reached for at a stretch, the gravitational pull as they run down a slope. The pace of the voice drags and tightens against various percussive and instrumental rhythms, and occasionally snags on a phrase in the flow of speech. Drawing on research surrounding narrative theories of the self, ‘Dog hairs’ antagonises a subjective sense of self-continuity across time.

I am an artist based in Glasgow, working across writing, sound and moving image. My work
draws on temporal and embodied features of perceptual experience, often through durational
or linguistic devices which play with degrees of attentiveness. My practice draws on research
concerning the voice, how the self is constructed through interactions and relations with others, and ways in which vision is coded by dominant systems.

http://www.lydiadavies.co.uk

Winner of the Leith School of Art2020 Prize for Outstanding New Work in Contemporary Art.

This soundscape hunts for learningfrom past pandemics and imagines positive change resulting from this pandemic.A 200-year tour is set within the artist’s daily lockdown loop walk around maritime Leith, challenging perception of time, place & possibility. Immersive scenes describe 1918’s influenza pandemic, present day lockdown and the future in 2120, using music, story, poetry & sound. The workacknowledges the invisibility of sound and virus, contrasted with their materiality and emotive power. Includes free magic.

Alex trained as a classical musician, performing and composing with orchestras and rock bands, before becoming an engineer. Originally from Belfast, she lived and worked around the world before settling in Scotland. Passionate about travel, Alex has expeditioned on all continents and sailed the Atlantic and Arctic oceans. Now combining artistic and technical skills with her globetrotting experiences, Alex explores the interface of art, science, place and sound; with interests in synaesthesia and the impact of emerging immersive technologies on physiology and psychology. She loves the sea and describes herself as a contrarian.

John Hall hacks down and weaves interviews, field recording, archive material and cassette recordings made by participants to evoke the threads  of superstition, social obligation and inconvenience with which we can trace the Whitby Horngarth  Service from its roots in rituals of rogation to the present day, through 900 years of recorded observance.

We hear several generations of the family that delivered the service on pein of losing their land,  the current Court Leet Bailiff of Fyling,  various explainers and  commentators, and the service itself.

The piece was made for the Bifocals Ritual Exchanges project:

bifocals2013ritualexchange.blogspot.com

John Hall is based in Ulverston, Cumbria. He works in sound and visuals to explore ritual and vernacular.  John is lead artist and project manager with Artspace in Cumbria and is a  founding director of the Octopus Collective.John publishes Flypaper, a quarterly tabloid exploring vernacular creativity as part of his 2019-20 project Ritual Exchanges. His film of the Horngarth Service was included in Whitby's online FolkWeek in 2020 and can be found here: https://vimeo.com/439517043

John's radiowork includes pieces for the Sao Paulo Biennale, Radio Revolten, Hannah FM and explorations of the vinyl library at BBC Radio Cumbria.

https://www.johnhallartist.com/