14 Sat

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/

Recordings: https://alexness.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

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.

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. Helives 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

„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.

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 art and experimental audio.
http://www.jessshane.com

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/

Mary Farfisa’s friend, Blasé Koolkatt, is a beatnikcat-girl from the Moon. Can she keep her cool when Mommy-O demands that clean her room? A children’s radio series written and produced by Jim Cheff.

Fascinated by radio drama from a very young age, Jim created, wrote and produced thirty-five half-hour episodes of ‘Mary Farfisa’s Outer Space RadioTheater,’ a comedy sci-fi series for kids. Mary Farfisa adventures have been played on community radio stations and radio festivals all over the world.Contact him at jimcheff@suddenlink.net

Alexandra Spence is an artist and musician from Sydney, Australia. She makes installations, compositions and performances based on (everyday) sound and listening. Through her practice she attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has a current, near-spiritual, obsession with the animation of material and object through sound. Alex has performed and presented work on radio, in concerts, festivals, symposiums and galleries worldwide, and has two releases: Waking, She Heard The Fluttering, with Room40, and Immaterial, with Longform Editions.

http://alexandraspence.net/

The Spectrum Sings is an episodical radio project made by an imaginary BBC education department in 1973. Each episode was recorded live using 2 or 3 turntables; sometimes a gramophone and an improvised dialogue punctuated with internal anxiety. This is the first episode of The Spectrum Sings entitled: Childhood. Check the your local listings for the subsequent episodes entitled: War, France and Health respectively. I do hope you can join us next time.

Shona Handley entered artistic stasis around 2010 having previously studied at Camberwell Art school and Edinburgh college on Art. Her previous practice encompassed performance, costume and textile design. Since 2018 Sound Art has provided a new creative outlet to process current themes of interest including bird calls and sleep talking. Shona is the person you think you know from some where, but you don’t. We have never met.

tandsmør – inside the fish we find (9:29)

https://radiophrenia.scot/portfolio/tandsmor/

Timothea Armour – East Lothian Gothic, Episode 2: Love on a Farmboy’s Wages  (10:24)

East Lothian Gothic is a radio play about a TV series, also called East Lothian Gothic, which doesn’t exist. If it did exist, it would be a supernatural crime drama, set in East Lothian and beginning with the death of a curator who has moved up from London to Dunbar to escape the city. It sometimes contains goblins. The first three episodes broadcast here are a work in progress. 
Timothea Armour is an artist and bartender living in Edinburgh. She is a current student on the MLitt Art Writing course at Glasgow School of Art. Previous projects include The Last Hour! at Collective, Edinburgh in 2017, which was about the pasts and potential futures of the public house and The Neighbours are Bats, a nomadic, collaborative project with Yasmine Akamune Miles and Esme Armour, celebrating bats and DIY culture. 

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

1. Liam Stefani – GO GO GO [TAKE IT AWAY]

2. Ivor Kallin – Sangs of Bute, Eh? R09_0089

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

3. Fabian Zuniga – Montaña

A number of documented soundscapes recorded with the mindset of showcasing a perspective of reality. The idea it’s 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.

4. John Hughes – In the name of the otter

inthe name of the otter

inthe name of the goat

inthe name of the rabbit

inthe name of the stoat

inthe name of the badger

inthe name of the mouse

inthe name of the otter

inthe name of the goat

inthe name of the rabbit

inthe name of the swan

inthe name of the badger

inthe name of the stoat  

inthe name of the otter

inthe name of the crow

inthe name of the crow

inthe name of the goat

voice: Paul Wynter

https://soundcloud.com/john-patrick-hughes

5. Edward Bruce – Tackled and Lost

In sound work Tackled and Lost, genders and gamecodes are ‘mixed’ in a kind of constantly developing hybrid of boys and girls,football and netball. I am interested in binaries or polar situations like ‘attack / defence’, ‘blue team, green team’, ‘male / female’ and how they breakdown. I put them in a ‘game’ situation where they are in free play continually.There is no winning and losing, just a mixing, an opposing, a coming together,a breaking apart; all happening constantly in a free matrix which is thespace  of the imaginary ‘games court’.

Born in Oxford in 1971. Multi-media artist, Edward Bruce has a M.Litt. in Fine ArtPractice from the Glasgow School of Artand a BA in Fine Art from NorthumbriaUniversity. After his degree, he lived and worked in London and exhibited withthe Glue Factory Group. He lived in Liverpool from 2003 -2017 and his work formed part of the EuropeanCapital of Culture programme. Edward Bruce lives and works in Glasgow.

https://edwardbruce.net

https://soundcloud.com/user-808545354

6. Emily Albee – Sunlight refracts

An audio poem asking the listener to consider what happens in the spaces we have abandoned.

Emily Albee is a multimedia artist living in Atlanta, GA. She is currently an MFA candidate at
Georgia State University, working towards a degree in Ceramics. Her work focuses on the
human/animal connection, with special attention on dreams and the mythic imagination.

7. Isabella Rahme – Midnight (for harp and mixed media)

This work exists as an exploration of a limited number of sounds and extended techniques employed on the harp, which throughout the work undergo a number of transformations until they reach obscurity. The name is an acknowledgement of the impact the current pandemic, and the associated quarantine, has had on many people’s daily lives, including their sleep schedules. It is an ode to all those who are now regularly experiencing many more midnights awake, and the constant flicker between both the calm and uneasy nature of the quiet night.

Isabella Rahme is an emerging harpist and composer based in Sydney, Australia. Currently undertaking her Bachelor of Music (Composition) at the Sydney Conservatorium of Music, she has written for choirs and ensembles, and more recently composed within the electroacoustic music practice. Her compositional style utilises both functional harmonic language and non-functional tonality, combining lyrical and avant-garde elements in a way that is contemplative and emotional.

https://soundcloud.com/isabellarahme

1. Elen Huynh & Mark Vernon – To Roar or to Whisper

2. Jan Van Den Dobbelsteen In Media Res A-2

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

3. Chelidon Frame – Please Respect Urban Solitude

An electroacoustic composition madefrom guitar sounds, tape manipulation, radio noises and a no-input pedalboard.

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/
https://facebook.com/chelidonframe           https://www.instagram.com/chelidonframe/

4.  Ivor Kallin – Sangs of Bute, Eh? R09_0095

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. Johann Diedrick – Daybreak

Daybreak- Recorded outside of my apartment window, April 5th 2020, around 6am.

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 ar ecord 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.

6. Jessa Mockridge – GUT RECORDING

synopsis: A lover’s spat between GUT and VOICE; with hot chip fantasying, gut to gut call and response,and sweet soothing David Attenborough. A short audio piece put together during lockdown in London using recordings made in and around my shared house.This work was towards a group (remote) residency at Wysing with artists:Rebecca Jagoe, Maija Timonen, Rosa-Johan Uddoh and Anna Zett.

I’m an artist and writer (Cape Town) living inLondon. I work with print, performance, sound and moving image. I’m interestedin the power dynamics of media in relation to bodies and a politics oflistening; a feminist ear that can also be a gut, skin or fist. Recentwork, sucking-sensing-feeling-phantasying : sonic meditations for conferencecall, adapts performances from Pauline Oliveros for remote group listening.Listening with the gut bloats what is hearable within the sonic architecturesof: headphones, throats, conference calls, rooms, rectums, mics, fantasies andrecorders. I am co-editor of PaperWork, an artwriting print publication and event series.

http://www.jessamockridge.com

http://www.paperworkmagazine.com

Clouds and Tracks firstiteration is a collation of sound works reflecting the strange and unsettlingtimes we’re living through during the Covid19 pandemic. So far we have workedwith a handful of fellow artists who’ve created sound pieces of around 10-15minutes charting their thoughts, feelings, driftings and wandering during andafter lockdown; journeys inside and outside their homes and their heads. FeaturingSarah Bennett, Rachel Cattle, Volker Eichelmann, John Hughes, Daniel Shankenand Anne Tallentire.

Volker Eichelmann and John Hughes have set up Clouds and Tracks, an audio project thatinvites artists and writers to contribute sonic works and experiments relatingto some shared preoccupations.

 Track 1: Gross Re-Percussion: Daniel Shanken

Track 2: 3 April 2020: Volker Eichelmann

Track 3:Recording 36: Anne Tallentire

Track 4:Green Moss: Sarah Bennett (PaulRamsay – sound design)

Track 5: Such Balls: John Hughes (ChristianNewby – drums) 

Track 6: The Dream: Rachel Cattle

 

Ever and ever, forever and ever, you’ll be the one that shines in me like the morning sun. (This is an audiowork about joy and self-love and their interplay.) Ever and ever, forever and ever, you’ll be my spring, my rainbow’s end and the song I sing. (Initially envisioned as an hour long rendition of ‘forever and ever’ by Demis Roussos, the piece evolved to be a reflection on karaoke as a form of love.) Take me far beyond imagination. You’re my dream come true, my consolation. (Inspired by the philosophies of Audre Lorde, Sonya Renee Taylor, Prentis Hemphill, adrienne maree brown and doggface from instagram, along with the love songs of Roussos, Burt Bacharach and Whitney Houston, the piece evokes joy as an act of resistance to capitalism.) You’ll be my dream, my symphony, my own lover’s theme. (The piece practices self-love by singing love songs to itself. The piece remembers joyful dreams dreamt during lockdown, euphoric dreams of endless space, adventure, friendship and belonging.) Ever and ever, forever and ever, my destiny will follow you eternally. 

Tilly Alexander Hallworth aka tandsmør (she/her) is a poet, musician, sound artist and cycle instructor living and working in Glasgow

https://tandsmor.bandcamp.com/

Gooseworm/Wormgoose is an hour long radio opera that follows the narrative of a field recordist who becomes more and more distressed by a sound that only she can hear, her narrative is increasingly disrupted by a series of disparate vignettes and soundscapes including spacey synthesizers, experimental folk music and jazz sung by crows.

Cameron Dodds (b.1991) is a British composer and artist whose work spans an array of disciplines including visual art, theatre, and fiction writing. Cameron is mainly concerned with creating bizarrely humorous and, often, psychedelic microcosmic worlds within his own work. In 2016 he was awarded theTracey Chadwell Memorial Prize for his song cycle ‘Scattered Rhyme Songs:PetrarchXBrautiganXCosmoKramer’ and in 2019 was awarded Sound and Music’s firstSeed Award. Cameron currently lives in London where he is working for his PhD at The Guildhall School of Music and Drama.

http://www.camerondodds.com

Mathias Klenner & Sofía Balbontín – Espacios Resonantes – 04 Depósito de Pluviales Joan Miró (2:53)

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

“Musica Humana…” is a radio piece addressed to an individual single listener, not to a concert audience, as a “soundscape” talking through the sounds but withoutwords. It describes sources of inspiration for composer’s imagination. The topic is my Little Atrophic Symphony and the reconstruction of the process of composing it. In the case of woman composer busy with running home, with cooking and cleaning, the process of composing looks a little differently from this one concerning a man composer, armed with a wife and many other helps giving him the opportunity to sail in heaven of metaphysics and creation.

Lidia Zielińska – Polish composer, professor of composition and director of the Electroacoustic MusicStudio at the Academy of Music in Poznan; numerous awards for orchestral music, multimedia, electroacoustic works; books, articles, papers, guest lectures(topics: sound and music, acoustic ecology, Polish experimental music, traditional Japan music), summer courses, workshops in Europe, both Americas,China, Japan, New Zealand; electroacoustic compositions realized at the EMSStockholm, SE PR Warsaw, IPEM/BRT Gent, ZKM Karlsruhe, Experimentalstudio desSWR Freiburg; vice-president of the Polish Society for Electroacoustic Music,former vice-president of the Polish Composers’ Union, programming committeemember of the “Warsaw Autumn” Festival.

 lidiazielinska.wordpress.com

https://soundcloud.com/lidia_zielinska

1. Matthew Shaw, Kit Vaughan and Rob Knight – The Nightingales of Prime Coppice

Ron Knight was a 92 year old resident of the Dorset village Whitchurch Canonicorum at the point this programme was made. Rob passed away a few weeks after this was recorded,

I visited Rob with Kit Vaughan to talk with Rob about his memories of thevillage. Rob was born in Whitchurch Canonicorum and apart from his military service he remained there all his life.

Rob played us a recording from the only tape of the dawn and evening birdsong at Prime Coppice recorded in 1970. Rob reflected on changes in the village, it’s harvest customs and to the local wildlife.

Prime Coppice is a 52 acre wood located in the beautiful Marshwood Vale in West Dorset. The wood is the last large remaining block of ancient woodland coppiceof that size in the West Dorset Area.

The wood was once a vibrant and thriving working woodland, hence the name Prime Coppice. Historically the wood was an excellent example of a community working woodland providing a wide range of livelihood and coppice products eg:employment, training, cider, firewood, charcoal, timber, hazel and ash hurdles,baskets and bean sticks etc. Historically the area adjacent to the wood was known as the kings moot where the local leaders would meet to discuss affairs and surrounding the woodland there is a rich history including the finding of a bronze age Viking axe head and the old Marshwood castle and deer park. The woodland and Marshwood vale where the wood sits is ringed by a series of 7 ancient hill forts including the famous Pilsdon Pen.

Voices – Rob Knight and Kit Vaughan.
Nightingales recording and Schubert recording from the collection of Rob Knight.
Piano by Matthew Shaw.
Recorded and produced by Matthew Shaw  

2. Sweaetshops – An introdoctrination to We Eagerly Await Your Complete Submission 10

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 Submissionis 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 andperformance. 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 BUZZCUTEmerging 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 

3. Vernon and Burns – Transient Lunar Phenomena              

From the Kunstradio programme ‘Eleven postcards from the Moon’ curated by Felix Kubin including ‘Transient Lunar Phenomena’ by Vernon & Burns featuring the voices of Elina Bry and Tony Morris.

http://kunstradio.at/2019B/14_07_19en.html

 

It has been proposed that there is a singleway, artistic and testimonial, to communicate a catastrophe: narrate it in it spure facticity. Like a dream? Dense with truth and linear detail, full of spurs, we spin through visual dislocations all night. Woolgathering meanders around collective catastrophes, animal-others and the contradictory disasters of the dreamscape through composed stories and a goat intermission. These are joyful and curious disasters. They confound and charm in their numinous animal skins and bones and bodies.

I create radio art, organize sound-makers at Earlid, mentor radio fellows at Wave Farm, and teach sonic culture and production via online courses at The New School for Public Engagement. I am mesmerized by forest silences and ocean smells and enormous trees in Northern California along the U.S. West Coast,where I live and return to from other geographies.

http://www.joanschuman.com
http://www.earlid.org

60 Second Radio presents a selection of 120 works sent in by artist from 29 countries during the 6th edition of its international radio art project. These are only some of the 300 that participated. 60 Second Radio aims to share the works collected. We thank Radiophrenia who opens its arms to them, in order and disorder : 

SATURDAY
Minhea Chelariu – Plastic • Sebastian Pafundo – Cruzando El Umbral. • Timo Kahlen – Stranger To The Ears • Timo Kahlen – Trespassing Cave Canem • Ricardo de Armas – In God We Trust • Jose Iges – One Hundred • Nicolas Vazquez – Night Noise • Hervé Caberlon – Expressions • Gintas Kraptavičius – Space • Avakian – Il faut entendre de belles choses • René Girma – Lassalle • Nicolas Vazquez – Feedback IV • Hugo López-Campana – Cuidemos el medio Ambiente • Christian Ahlborn – Noises • Benoit Bories – Débarquement • Chelidon Frame – Sailing Ships • Théophane Bertuit – Grenda Moenada • Estelle Beugin – Suspendue et folle • Patricia Galassi – Un minuto con la abuela • Jupitter-Larsen, G.X. – One Day • Jean-Luc Bonspiel – Morceau inconnu • Jean-Marc Touvsbiennovitch – Jeneantviderien • Daniel-Martin Borret – Effets de masque • Asmus Korn – Ok Lets Grow • Martina Weber – Kultur in Abwesenheit • Deo Jesmeen – Planet Earth • Mehdi Bayad – Quiore • Philippe Donnefort – Le reveil des oiseaux • Mat Eric Hart – L’homme tousse la planète respire • Phoebe McIndoe – You May Have Loved 59 • Line Multari – La Moustache • Zarda Agapi – Skating in Eb • Hannah Roberts – From the bottom of my heart – O Eigion Calon • Julien Sarti – L’air du temps • Domingo Chinchilla – Plastic-0168 • Christiane Blouet – Ouaf-ouaf • Frédéric Lebrasseur – Sans Oreilles • Pierre Ménard – Philippe Cohen Solal • Sylvie Chenard – Marcher sur l’eau • Elsa-Daynac – Alors voilà • Jérémie – Quatre canaris • Steve Urquhart – The Doors Of Interruption • Antonin radio – La fièvre monte • Phil Smith – Soixante-graines • Gianmarco Bozoglu – Untitled • Alison Carlier & Amanda Loomes – Disorder • Gabriel Furmuzachi – Alma’s Orange • Eugène Lledo – Putain je viens de comprendre • Victor Chicote – Shepherds • Marta Salcedo Martínez – Lloran las ventanas • Cristian Fierbinteanu – Nothingnesslessness • Santiago García Gago – Metaconcurso • Gaston Olive – Rencontre à la ceriseraie • Arthur Olive – Reverse-night • Ingrid Lebrasseur – Quiche salade minute • Simone Longo – Recondito • Edusha Lassissi – La musique des mots • Emilio Pascual – Violeta y sus cometas • Melia Roger – Le vrai silence • Pablo Diserens – Intertidal zone • Jesus-Moreno – Coordenadas • Tympan cul cul – Suavium. 

http://www.60secondesradio.com/manifesto/

Practice Good Practice is a monthly radio show, irregular record label and – back in the heady days of 2019 -occasional party. It’s here to celebrate the boundless possibilities of messing about with sound files, noodling on synths and generally (mis)treating the studio like an instrument.

This collage was put together by Charlie Knox (Semispecific Ensemble, Trudat Sound)and draws on contributions from himself, Caroline Hussey, Dave House, Simon Weins and Klaysstarr. If you like what you hear why not sign up to the mailing list at http://www.practicegoodprctice.party

1. Ricardo Paraiso Silvestre – Travel      

It has always fascinated me how even a short piece of audio can contain a multitude of sources to elaborate audio works. Samples can be stretched, reversed, re-engineered, distorted both physically and electronically and suffer what ever alteration you can imagine.
Sounds can be taken out of context and introduced in totally new scenarios.
In this piece I took a very short recording of a street scene in Lisbon´s quiet Graça neighbourhood and used it to construct a space voyage.

Ricardo Paraíso Silvestre is a sound artist living in Oeiras Portugal. With a background in plant pathology and sculpture he Collects everyday sounds with the intent of altering them physically and electronically in order to remove them from context and give them new uses.

https://audiolandscape.blogspot.com/                                   

2. Ryan Frame – At the Races       

A piece solely based on the names of racehorses running on the 19th of Sep 2020. Recorded directly to a 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                 

3. Matt Byrd – Clastic Composition 8 (For Donnie Fredericks) 

The eighth in a series of nine Clastic Compositions, 8 (For Donnie Fredericks) is made of entirely fresh field recordings made on the very threshold of self and sanity, arranged with a wink towards the non-oblong.

Matt Byrd has been making records since 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              

4. Steve Bates – The Unhearable

The Unhearable is a work for radio transmission based on research into historical and contemporary experiences of auditory hallucination. Drawn from the sonic archive of a larger,
ongoing project, Black Seas. The Unhearable is inspired by the breadth and depth of this sound world in both pathological and non-pathological instances and the continuum between
these two extremes. The Unhearable draws from horror literature and film, cognitive science,
philosophy, telecommunications history and sound studies, religious studies, post-colonialism
and queer studies, cognitive science, mysticism, early psychiatry, 19th and 20th century psychic journals, and shared stories.

Steve Bates is an artist and musician currently living in Saskatoon. His work has been exhibited and performed in Canada, Europe, Chile, Senegal and the United States, at such galleries as Casino Luxembourg, Musée d’art contemporain du Montréal, Dazibao, and Fonderie Darling as well as festivals including Suoni per il Popolo, Mutek, and Tuned City. His work listens to boundaries and borders, points of contact and conflict. Thresholds are explored, stretched and blurred. The sonic is the starting point for his projects which are evocations of communication networks and systems, or expressions of spatial and temporal experience. He works in the field, on the air, in museological/gallery and performance contexts. These shifting territories reflect the content of his practice.

Website: http://stevebates.info

The work’s dramaturgy is centered around the idea of disintegration or loss of a common language and the unintelligibilities within speech. Traveling through the most urgent themes of nowadays often addressed by means of art – climate, feminism, societal polarization – the multilayered work attempts to make a sonic reenactment of that disintegration, while asking questions about selfhood and the matter of art, potentials and strategies of communication, particularly in Eastern Europe. Materials used in it are soundscapes, conversations, interviews, and a participatory performance/ collective game experience about a shifted self.  Somebody There is being created in the framework of Biennale Matter of Art in Prague.

Anna Kravets is a researcher holding a double Master’s in cultural studies and social sciences.Her fields of activity include radio art and radio journalism, podcasting, translation. In her work and research projects, she has addressed linguistic aspects of power relations and mechanisms of collective imaginary, anthropology of voice, work in migration, experimental media. In 2017, she founded the Radio International experimental radio workshop. Her current projects oscillate between work and routine philosophies, conditions of precarity, shifted subjectivity and participative vocalizations. Among them is Podcast. Somebody There, an audio series in the framework of Biennale Matter Of Art (Prague, 2020). She runs a radio show about the transformations of work and leisure on RUI/Cashmere Radio. Anna lives and works in Kyiv, Ukraine. 

mixcloud.com/radioInternational17

mixcloud.com/Anna_Kravets 

https://soundcloud.com/anna-kravets
 

https://matterof.art/podcast

https://cashmereradio.com/shows/the-art-of-work/

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://www.youtube.com/channel/UChGFbw8nJ4qmkMKns1Jz3wg

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

The work’s dramaturgy is centered around the idea of disintegration or loss of a common language and the unintelligibilities within speech. Traveling through the most urgent themes of nowadays often addressed by means of art – climate, feminism, societal polarization – the multilayered work attempts to make a sonic reenactment of that disintegration, while asking questions about selfhood and the matter of art, potentials and strategies of communication, particularly in Eastern Europe. Materials used in it are soundscapes, conversations, interviews, and a participatory performance/ collective game experience about a shifted self.  Somebody There is being created in the framework of Biennale Matter of Art in Prague.

Anna Kravets is a researcher holding a double Master’s in cultural studies and social sciences.Her fields of activity include radio art and radio journalism, podcasting, translation. In her work and research projects, she has addressed linguistic aspects of power relations and mechanisms of collective imaginary, anthropology of voice, work in migration, experimental media. In 2017, she founded the Radio International experimental radio workshop. Her current projects oscillate between work and routine philosophies, conditions of precarity, shifted subjectivity and participative vocalizations. Among them is Podcast. Somebody There, an audio series in the framework of Biennale Matter Of Art (Prague, 2020). She runs a radio show about the transformations of work and leisure on RUI/Cashmere Radio. Anna lives and works in Kyiv, Ukraine. 

mixcloud.com/radioInternational17

mixcloud.com/Anna_Kravets 

https://soundcloud.com/anna-kravets
 

https://matterof.art/podcast

https://cashmereradio.com/shows/the-art-of-work/