17 Tue

Google Useless Radio present an aural dissection of their 36+ hours of shows. Hosts MC Donalds (Liam Casey) and DJ Sports (Laurie Pitt) plus many, many guests broadcast between 2012 to 2014 live from Glasgow Uni’s Subcity Radio on Tuesday midnights. Channels in the mix included noise signals, google wastelands, bodily excretions, commercial radio and infrastructural communications, aceeeeid!, consciousness alterations, inhuman utterances, sound objects, voodoo magics, social relations, bad banter etc. This new work made explicitly for Radiophrenia 2020 slices nuggets from all of the shows into two hours of concrete non-sequiturs.   

With additional production and music by Jamie Watt, Lewis Bisset (Faliraki), Kirsten Sinclair, Louie Holland, Niall Stevenson and Matthew Poland.

 Synopsis

A soundtrack for an operetta set in a deserted open plan office inhabited by the ghostly presences of former employees. Disembodied voices recite meandering internal monologues, while half remembered fragments of conversation loop over and over again.

 Biography

Beagles & Ramsay have worked steadily to reactively manage consumer expectations since 1996. 

 Website

http://www.beaglesramsay.co.uk     

 Instagram

@beaglesramsay

For the last five years I have taken a sample from every video I watch on my laptop. As a tip of the hat to William Burroughs and Robert Anton Wilson I take the sample from the 23rd minute. Each sample is arranged and layered chronologically, constructing an aleatory narrative; a random DJ mix of dialogue, music and foley; a self portrait of viewing habits and memory; an audio Rorschach test. VHS rips merge with Blu Ray restorations, youtube binges mingle with abandoned box sets. Since premiering in 2015 the work has built up an international following (an insomniac in Wolverhampton and someone painting a fence in Council Bluffs, Iowa).

Barry Burns is not the bloke out of Mogwai, it’s a different, unsuccessful one. He is the co-manager of Radiophrenia and has used his immense power to give himself the highly coveted graveyard slot.

Mark Vernon – Ribbons of Rust

Description:

An exploration of audio archaeology and found sound focusing on a derelict abandoned holiday resort onthe island of Koh Tao. The piece is composed from field recordings taken onsite along with sounds salvaged from four corroded, oxidised cassette tapes that were found at the resort. Audio rips from video clips uploaded by other travellers who came across the same location add further stratigraphic layersof sonic sediment to the proceedings.

Biography:

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

 

 

 

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 4th June 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.

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

traces from a residency in Japan, 2018. Pheobe created a series of works; ‘tourist’ (film, photography, installation, sound) focused on the border between being tourist and visiting a
country for the first time with another purpose also; the aspect of being an observer and a participant. These recordings reflect some moments of our time spent closely listening to open windows, shinkansen signals, ultrasonics of edogawa at night and a workshop

garden
open window, nara | Pheobe riley Law
shinkansen signals | Pheobe riley Law
edogawa at night | JrF
workshop garden | JrF / Pheobe riley Law

Jez riley French
focusing on sound as material and subject my work involves installation, intuitive composition / improvisation, scores, film and photography. I run workshops & lecture on located sound / field recording as an art form and have developed and expanded the use of extended field recording techniques and the role of durational listening. I also build microphones and curate various projects. I work extensively on long form listening / recording, and developing the concept of photographic scores and ‘scores for listening’. Aspects of my work have been exhibited or performed at galleries including Tate Modern, Tate Britain, Museum of Contemporary Art, Tokyo, ftarri, Paradise Air etc.

jezrileyfrench.co.uk

Pheobe riley Law
currently based in Newcastle and Hull, my work often explores the documentation and
transformation of materials including sound, text, film and reformatted objects. I am interested in reframing and dismantling narrative, subverting perceived normalities alongside the construction of personal or social behaviours and the inherent patterns of experience.
recent work includes performances, creenings and commissions for Ftarri (Tokyo) , BBC
radio 3, Paradise Air (Japan), LevelOne Hamburg, Funen Denmark, Cafe Oto & Iklektik
Art Space, Spikersuppa Lydgalleri (Solo), along with residencies at Paradise Air (Japan) &
Airy Västernorrland (Sweden).

pheoberileylaw.yolasite.com

1. Adam Winnie – SWG Performance Sound           

“I’m looking for sounds which defy logic. These auditory sculptures are born out of experimentation, they are not considered music and are not structured as such. I’m interested in the creation sounds which have never been heard by the human ear but which possess power to captivate and hypnotize while gnawing at the skull.They best way to experience them is by limiting all other senses. In constructing these experiments in developing new auditory experiences I utilize both digital and analog recordings which are passed though many many filters, stretched, pitch shifted, cut and past, resample, re-filtered beyond what the program is capable, re-stretched, re-pitched and so on and so forth. From these amalgamations, selections are chosen and developed further.”

Adam Gabriel Winnie (b. Michigan, United States1981) received a B.F.A. in painting from Savannah College of Art & Designin 2012 and is a current 1st year M.F.A. candidate at the Georgia StateUniversity’s Ernest G. Welch School of Art and Design. Winnie is an artist whose oeuvre covers the gamut of art practices; from realist charcoal drawing and oil painting to performance, audio sculpture and beyond. Since 2003, Adam has been exhibiting in solo and group exhibitions across the United States, including; The Sylvia White Gallery in Ventura, California; The Samuel Dorsky Museum of Art in New Paltz, New York; The Vendue in Charleston, South Carolinaand many others. His works are a part of the Permanent Art Collection at Mercedes-Benz Stadium in Atlanta, Judge Realty Corporate Collection, The Savannah College of Art & Design Permanent Collection and more. Adam Gabriel Winnie’s currently lives and works in Decatur, Georgia.

http://www.adamgabrielwinnie.com

2. Shaun Robert – Leggy the Leg                                  

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

3. Anette Gellein – Days After W Silence       

From a compilation of sound works,more minimal than my previous work. It is composed by a synth programmed inMax/Msp and the analog synth Moog Mother 32. The sound compositions is both based on very fixed parameteres 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.com 

4. Leeza Negelev –  Under the Apple Tree         

 Under the Apple Treerecounts the moment that my Grandfather, Bentsin Shoykhet, first learned of thesecond World War. He was sleeping under the shade of an apple orchard with his kindergarten classmates in the small town of Tomashpol, Ukraine. Lying there, he imagines the trees are growing out of the sky. His grandmother arrives early to pick him up, saying the war has begun. My Grandfather hears Yury Levitan on the radio, known then as the “the voice of the war”. He recalls Levitan’s words, and the audio goes back and forth between his memories and the actual announcement. 

5. Ziad Nagy – Ongs Hat            

Like many of us, I am attracted to conspiracy theories, such as Ong’s Hat. The immediate allure is that conspiracies are unpopular truths, but even in their knowing fictionalizations, I am compelled. My rendition of Ong’s Hat is composed of hollow samples set to a drawn-out structure, so that what comes next is hard to predict, but familiar. The process becomes like trying to understand an emulation of what is natural. And hence, Ong’s Hat is a strange truth that we seek alternative realities barefaced, whether the conspiracy of the inter-dimensional gate is true or not.

Ziad Nagy (1989) is an interdisciplinary artist. He uses found material in anarray of mediums to create interventions that are broadly existential: identity, life, death, and time. He received a BFA from The School of the Art Institute of Chicago (2012) and an MFA from the Slade School of Fine Art (2017). He currently resides in London.

http://www.ziadnagy.com

6. Ivor Kallin – Bute Sangs, Eh? R_09_0107        

7. TreesOnComa -Spiralled Magic Potato

Learning German with a potato head monster.

TreesOnComa was born in 2004. The original idea was to create music using old computers and machines ;using“collage“ and the yuxtaposition of elements as the main techniques, playing as well with the absurd and oneiric, turning nightmares into sound.

The music of TreesOnComa is created by DimasGestas in Bogotá, Colombia.

 https://treesoncoma.weebly.com

8.Christian Banasik – I See a Voice   

The basis of this piece is the text “mémoires, memory, memorias“ (1983) by Eugen Gomringer (the founder of concrete poetry). The concrete lyrics of the writer are first fragmented in the form and then recomposed acoustically. Determined sequences of numbers (algorithms) taken from the form of the poem and the words gave me the determinates for the musical process. Important acoustic elements are developed from the spoken passages and the actual writing procedure of the text.

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.

 

Five consecutive field recordings investigate objects we interact with through time. Activities include working on my laptop, field recording, boiling eggs, and swiping around my phone. The real-world temporally evolving sounds of these activities are contrasted to electrostatic sounds of technologic devices (recorded using a telephone pickup). Repetitiveness and stasis are apparent: clocks tick, wind continuously blows, and electrical currents buzz. The dialogues had with objects around us, when listened to, are impressively plain. All sounds were recorded in the early stages of the UK Covid-19 lockdown, presenting the feeling that those activities were time-killing waiting.

Colin Frank (CAN/UK) experimentswith sound, electronics, theatre, and percussive instruments. In attempting to blur delineations between composer, performer, improviser, and technician his practice perpetually mutates: narrowly focusing then sprawling chaotically. He investigates excess, pushing the body to physical extremes, barely controllable instruments, and rich, raw noises. Currently he is pursuing a PhD at the University of Huddersfield, focusing on object agency in performance practice.His ensembles Brutalust and Drift Ensemble perform regularly in the UK and abroad, and he has written for numerous musicians, including the Moscow Contemporary Music Ensemble, TAK ensemble, AndPlay duo, and Red Note Ensemble.

http://www.colinfranksounding.com/

Instagram: colinfrankperc

 

In previous works, artist, filmmaker and musician Luke Fowler has made impressionistic portraits of neglected cultural figures and movements. For this new sonic performance, Fowler celebrates not an individual but an overlooked genre of musical instrument. Inspired by learning about instruments carved from gourds, Fowler has designed and built his own hybrid versions: dried, carved gourds strung with traditional catgut and ‘found’ strings. When activated, each produces a low, quiet note, letting Fowler, who is joined by musicians Richard Youngs & Stevie Jones, build up microtonal chords by carefully repositioning each instrument. The result is an intense and subtle deep-listening experience. 

This broadcast is a specially down-mixed version of the ambisonic documentation recorded at Hamilton Mausoleum for Sonica festival, recorded Sunday 3rd November 2019

http://www.luke-fowler.co.uk

Māpura Music – Pandemic Zoom Class Podcasts: I Can Hear You Good (7:10)

My name is Stefan Neville & Iwork at Mapura Studios in Auckland, New Zealand, We are a creative space for people 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 will hear us wrestling with a scary time & keeping each other company.

Kapitał Gains is a daily radio programme showcasing live performances by Polish and German sound and radio artists, curated and hosted by Knut Aufermann. Every day at noon CET (11am GMT) from 16th to 22nd of November 2020 a roster of acclaimed noise makers will present solo or duo concerts from their homes live for the radio audience. Today it is the turn of Udo Noll, field recordist from Berlin.

The second half of the show is dedicated to works from the international radio art network Radia. Kapitał Gains is a project by Goethe Institut and Radio Kapitał in Warsaw, with partner broadcasts on ∏-node in Paris and Radiophrenia in Glasgow.

Artist biog:
Udo Noll is a media artist and graduated as a qualified engineer for photography and media technology at the Cologne University of Applied Sciences. He lives and works in Berlin and Cologne and is the founder and developer of radio aporee, a platform for projects and practice in the areas of field recording/phonography, sound art and experimental radio. After numerous works in the field of net.art, Noll increasingly engages with sound in his works, esp. field recordings, their sonic topographies and potential spatio-temporal configurations on both real environments and digital spaces.

Web links:
https://aporee.org/    Udo Noll
https://www.goethe.de/warschau    Goethe Institut Warsaw
https://radiokapital.pl/    Radio Kapitał

I was born in Germany and moved to France six years ago. I first studied humanities. After
volunteering for several months at a local and non-commercial radio (l’Eko des Garrigues) I
decided to shift to Fine Arts and integrated the Conservatory’s electro-acoustic music class
to concentrate on music and sound within the field of Art. I graduated in 2019 from the
Higher National Academy for Fine Arts in Bourges (ENSA) and in 2020 from the International
Post-Graduate Program in Arts in Sound in Ghent, Belgium @ KASK/Conservatorium
(EPAS). I am currently living and working in France. My artistic work is based on the exploration of the esthetic experience of sound and music. I use the technique of Field Recording and produce sound and video installations and performances. I frequently contribute my compositions and recordings to radio and cinema projects. Sometimes I work as a sound engineer for events such as concerts, theater shows or radio programs. Currently I am working with an environmental biologist with whom we founded the Observatory of the Hole in Deep Time that aims to analyze the links between Sound and Biodiversity in the Anthropocene era.

Cucina Povera – Zoom – 03 ZOOM0005 (2:21)

https://radiophrenia.scot/portfolio/cucinca-povera/

soft tissue – feedback from ‘soft Tissue’ cassette (1:56)

https://radiophrenia.scot/portfolio/soft-tissue/

wander | from my thought i’m at my shoes and from my step i’m on the ground, the surface of matter | asphalt | a moving bicycle chain spinning sound into my right ear | my notions roam again | i deliberately step aside | grass | a crumpled piece of foil | it resonates | bits of voices carrying information | i know that street | do i? | it used to sound different | treading on some pebble stones, chrunching them | noises appear louder this year | step by step | aiming for a rhythm | getting lost | not marching but walking along lines | more lines | trying to avoid them | a puddle’s echo | unlearning what i hear and see | is it a rumble or a murmur behind that pole | wind purrs | a crow just shat on me | i remember | traipse is a word i didn’t know | meander  

“…thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It’s best done by disguising it as doing something, and the something closest to doing nothing is walking.” [Rebecca Solnit in Wanderlust]

Nika Breithaupt alias Nika Son works as a musician, artist, film sound-designer, Dj and curator after graduating in Fine Arts at the Art Academy in Hamburg in 2012. Influenced by Musique Concrète and the outer space of electronic music, her compositions are built from deformed and fragmented fieldrecordings, interweaving with analogue synth lines, broken rhythms, rare voice scraps and filtered tape layers. As a sound artist she became a dedicated hunter of extraordinary sounds and discoveries of new and old technologies in music. Sounds of various origin are translated into a very unusual musical language, as if one watches the audible.

She has played at international festivals such as Intonal, Meakusma, IFFR, Klub Katarakt, Nuits Sonores etc. and released on various labels, such as Mmodemm, First Terrace Records, Sky Walking, Anti-Ghost Moon Ray and her own imprint Noctui. Her debut album was released in March 2020 on the Belgian-British label Entr’acte.

Next to her solo project, she has been collaborating with various artists for many years now, foremost with the filmmaker Helena Wittmann and the musician F#X. Furthermore she hosts regular art and music events at the Golden Pudel Club in Hamburg since 2011 with various international guests. In July 2018 she staged a two-day festival called Eruption, freely based on the musician and video artist Conrad Schnitzler and since 2019 she is part of the curator team of the papiripar festival. 

As a DJ, her waywardly sound is marked by the outer space of electronic music, spanning from musique concrete, early electronics, synth wave, Industrial, Noise, Kraut and experimental Techno.

http://www.nikason.de

Last winter, France experienced the longest strike in its modern history. The strikers’ demands quickly joined the sectors already struggling: health, justice, university, transport, energy,arts, education and media converged in the streets with the yellow vests that had been demonstrating and occupying roundabouts for more than a year. Only the containment due to the coronavirus will put an end to this political sequence.This episode of Radia is a subjective attempt to put this moment in sound. Recordings made during demonstrations, sound creation and political reflections are mixed to illustrate the bubbling political atmosphere and sonic environment of thisperiod.

Nicolas montgermont is a sound and radio artist who explores the physicality of waves in its different forms. For more than 15 years, he has been designing artistic devices that explore the poetic essence of waves: resonance in a volume, vibration of materials, richness of invisible radio landscapes, musicality of interferences, antenna sculpture, listening and broadcasting territory… and is currently developing a work on the links between radio-art and politics.  He realizes sound performances, installations, records and compositions, aloneor in collaboration (chdh, Art of Failure, Cécile Beau, RYBN, [Pali Meursault] (http://palimeursault. net/)…) and participates in several sound and radio creation collectives (∏node, Yi King Operators, lesSons Fédérés, Jef Klak, l’Acentrale).

 

1. Catherine Clover – Yuen Po Street

Bird and human voices mix as I walk through Yuen Po Street Bird Market, Hong Kong. An appreciation of the singing of songbirds has a long tradition in Chinese culture, and the birds are highly vocal, due in part to their captivity. The birds’ songs merge with local radio and conversations. Cantonese is the language spoken in Hong Kong but according to locals, Mandarin is increasingly common and this is understood as a strategy the Chinese mainland government uses to undermine Hong Kong’s autonomy. The current protests demonstrate the huge challenges the small island has in order to retain independence.

Catherine’s multidisciplinary practice addresses communication through voice, language andthe interplay between hearing/listening, seeing/reading. Using field recording,digital imaging and the spoken/written word she explores an expanded approach to language within and across species through a framework of everyday experience. Brought up in London UK she arrived in Melbourne Australia as visiting artist through Gertrude Contemporary in the1990s. Her work has been exhibited and performed regularly both within Australia and internationally since the 90s. She teaches in Melbourne at Swinburne University (MA Writing), RMIT University (MA Public Art) and holds a practice led PhD (Fine Art) through RMIT University. http://www.ciclover.com

2. Enric Desombra – Entropía

“Entropía” was originally composed and recorded as a collaboration with a cultural magazine called Tusitala, based in Barcelona city. You can see this work here:
https://tusitalaproject.com/2019/12/04/энтропия/
This issue of Tusitala was dedicated to the concept of entropy, and I was invited to contribute some work related to this idea. I tried to think of a music that evoked the entropy of the universe. It occurred to me to create an increasingly chaotic soundscape, using my old analog instruments (some toy ones). I found it fun to create a kind of cosmic environment with toy instruments. Then I added my voice telling a story about a hypothetical trip to Mars (in Spanish). Recorded and mixed in my house, in my wife’s dressing room, only with real instruments (except percussion, generated with an online drum machine).

Enric Desombra (Barcelona), writes things, sings things and plays with a couple of guitars and various toys and rare gadgets. He never uses plugins, everything he records is analog except the percussion. Sometimes all of this takes on intelligible forms; other times it just takes forms. Interested in the pairing of sound and words as a transforming force.You can hear more of his work here: https://enricdesombra.bandcamp.com/
https://open.spotify.com/artist/3rAQzid68p2Yx6VzYrdOjM
https://www.facebook.com/enricdesombra

3. The Great Indoors – Monsters

The Great Outdoors 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. They 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

4. Emily Albee – Sovereignty of the Natural Wreath

Sovereignty of the Natural Wreath takes advantage of the N+7 procedure to create a disembodied experience. Nonsensical dialogue juxtaposes manipulated recordings of the natural world.

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.

5. Gareth John & Laura Tansley – Beyoncé

Gareth shared several pieces of music with Laura, who then wrote short poetic prose in response. The result is an experiment in co-working, call-and-response, and a thematic exploration of nostalgia.

6. MÆKUR – RS52

‘RS 52’ is a collaborative and improvised live performance, using sounds recorded at the Blind Veterans UK Amateur Radio Society (Brighton, UK), 2019. Released on ‘CONDITIONS : 1218-0719′(2020), which features recordings from the MÆKUR archive, Bergen Broadcasting Association (Norway) and the Deutsche Welle radio archive. Re-mixed with Njål Paulsberg, Bergen, Norway, 2019. Co-produced by Bergen Kunsthall (Norway), Lighthouse (United Kingdom), Sonic Acts / Paradiso(Netherlands). Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.  With thanks to Glynis Gillam, Patrick Murphy and the Blind Veterans UK Amateur Radio Society.

MÆKUR is the collaborative project of Maiа Urstad, Anton Kats and Eva Rowson. The collective synthesizes artistic,sonic and radiophonic practices to research communication technologies, amateur radio networks and archival practices. As new technological forms open up and others become obsolete, MÆKUR are interested in how methods of self-organising, listening and transmitting as well as the sounds of the technology itself – its errors, interruptions and signals – also evolve. At the core of the MÆKUR collaboration is an ongoing archive, to emphasise multiple soundings of technical development and the different communities that form around it. https://maekur.bandcamp.com/releases

7. Holbeck Still – Sound Laboratory – Atomic Landscapes: Depth Protocol

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 that include field recordings, vintage tape machines, sampling and cutting-edge synthesis.  The resulting works are cinematic,complex soundscapes.  https://www.instagram.com/holbeck.still https://www.facebook.com/holbeck.still

https://twitter.com/HolbeckStill

8. Lauren de Sá Naylor – AEGINA MUSCLY SHEEP 

A sound collage comprising field recordings from walks around Aegina and and two spoken narratives. Bells chime,music bangs in an empty bar, a child tells the tale of the fabled Todmorden hench sheep, a distorted voice describes a hallucinatory hillwalk.

ldsn.bandcamp.com/

The Sculptor Speaks is a resounding of a 1961 tape by British sculptor Barbara Hepworth. Having unearthed the tape at the British Library, Louvel has designed for it a complete new sound environment, applying principles of sculpture to her voice to manipulate its texture, as direct carving. Initially broadcast on Resonance Extra as a version 1.0[transmission], an audio-visual iteration [contactless] has been produced for the digital realm and will be followed by a gallery [installation] in the future. By repurposing this archival material, Louvel broadens the understanding of Barbara Hepworth’s legacy through an aural investigation of the voice.

Olivia Louvel is a composer and artist whose work draws on voice, computer music and digital narrative. She operates at the intersection of creation and documentation, often taking for a point of departure, archival and autobiographical documents.Her practice is built upon a long-standing exploration of the voice, sung or spoken, and its manipulation through digital technology. She has presented her work at Chapter, De La Warr, Ikon Gallery,Anthony Burgess Foundation, Brighton Digital Festival, Iklectik, CTM. She was recently interviewed by Stuart Maconie/BBC Radio 6 about her “new compelling sculpture-inspired work” on Barbara Hepworth.

http://www.olivialouvel.com

Giles Perring – Intervention 2 featuring Susie Honeyman (10:00)

Ain Bailey – Breath (LJ edit) (13:12)

https://radiophrenia.scot/portfolio/ain-bailey/

Giles Perring – Intervention 2 featuring Susie Honeyman (10:00)
WORLD ORGAN ‘Interventions’

This is a series of songs and improvisations delivered by remote collaborators in conjunction with Giles Perring’s sound installation on Jura, the World Organ. The pieces are assembled in different ways that reflect the various listening experiences of the players, and the colours of the sound that the organ ‘hears’.

Alongside Giles Perring, on Jura, the performers are:

Melanie Pappenheim, Kennington, London. ’Two Corbies’
Kirsty Law, Edinburgh, ‘My Heart Is Sair’ [Robert Burns arr. Law]
Susie Honeyman, Edinburgh, ‘Over the Sound’
Albert Kuvezin, Kyzyl, Tuva ‘Talking to Spirits’
Ivor Kallin, Clapton, London, ‘Trumpton Fire Brigade’
Rob Mills, Swanage, ‘The Ministry of Wind’

Giles and Ivor have played in various improvising bands together, notably Ya Basta and power trio The Scheidt. Rob Mills and Susie Honeyman are both long standing colleagues of Giles from their work together in the sonic sculpture group Echo City. Giles produced Albert Kuvezin & Yat Kha’s number one World Music album ‘Poets and Lighthouses’ on Jura in 2010. Giles first performed with Melanie Pappenheim in the vocal big band The Shout. They have since made a number of music and sound works for radio and theatre together. Giles works with Kirsty Law on recordings and cross-media projects having first collaborated together with Stornoway story teller Ian Stephen.

Cucina Povera is the solo project of Luxembourgish-Finnish musician Maria Rossi. It has been described as one of the most striking new voices from Glasgow’s underground music scene. Named after the Italian culinary concept which emphasises the use of a few simple ingredients, Cucina Povera conjures gorgeous, otherworldly songs about nourishment and precarity from layered vocals and electronics. Live, her music unfolds beautifully, as beguiling melodies emerge from harmonic drones and looped phrases. Recordings blend clear, unaffected voice and minimal synth. She released her debut album, Hilja, 2018 on Glasgow’s Night School Records. Her second album Zoom 2019 is a verité collection of situational recordings in intimate spaces full of acoustic or ideological intrigue, primarily using just her voice. It is a document of different locations and moods, a postcard-look into the stream-of-consciousness processes of an artist developing her language. Using little else other than a Zoom recorder, clip-top bottle and a loop pedal. In Zoom Rossi’s minimalism is fully stark, a process becomes transparent and all the more powerful because of it. 2020 has also seen the artist come into her own as a highly effective collaborator, with two different releases on which she recorded music alongside another artist. The first of these collaborations came in the form of her joint-release on The Hague-based label BAKK, alongside experimental Dutch producer Haron, for the sixth edition of their Plafond series. The release brings together the folkloric and the futurist, with the cinematic long-form piece ‘Riffittelyä’ a particular highlight.

For Radiophrenia 2020, Rossi proposes a new body of work, produced at the music studio WORM in Rotterdam. The theme once again riffs on a favourite, asceticism. Simplistic synthlines interweave with a text. The work has gathered momentum over the past months of creative stasis, and it seeks to pass a sentiment of strength-in-introspection onwards.

https://cucinapovera.bandcamp.com/

https://soundcloud.com/cucinapovera

Artists from Paragon’s Horizons programme invite you to experience their audio worlds and explore the spaces and places that make up a day. This work for radio brings together music,  poetry, found sounds and conversations recorded from various locations in Scotland. 

Paragon Music is an inclusive arts company inspiring people to create and perform their own music and dance. Two important principles within music – equality and inclusion – guide our work, creating inclusive music, dance and performance opportunities that inspire and empower. Paragon creates environments where people from all walks of life and with a wide range of additional support needs, can come together, develop new skills, meet new friends and discover their true potential through dance and music. Paragon’s work is facilitated by highly trained inclusive arts professionals, and has been delivered online since March 2020.
https://www.paragon-music.org/

For the Radiophrenia commission: ‘Ode To The N.H.S.’ I have composed a meditation/homage to the National Health Service, using as a starting point, and end, I guess, the recordings of 10 weeks of ‘Clap for the N.H.S.’ that took place during lockdown. While there are many who thought the gesture futile, I saw it as moments of solidarity and community appreciation for an organisation that has long been under siege and underfunded.  

Ain Bailey is a sound artist and DJ. She facilitates workshops considering the role of sound in the formation of identity and recently held a residency at the ICA, London.  Exhibtions in 2019 included ‘The Range’ at Eastside Projects, Birmingham; ‘RE:Respite’ at Transmission Gallery, Glasgow, Scotland, and ‘And We’ll Always Be A Disco In The Glow Of Love’, a solo show at Cubitt Gallery, London. Last year, Bailey was commissioned by Supernormal and Jupiter festivals to create and perform a new work,  ‘Super JR’. Currently, following a commission by Serpentine Projects, she is conducting sound workshops with LGBTI+ refugees and asylum seekers, as well as working on commissions for radio for Deutshlandfunk Kultur, Radiophrenia and Savvy Contemporary’s new radio station, SAVVYZAAR.

http://www.ainbailey.com

Ruminating on ‘gut feelings’ Navel Gazing considers how the body is simultaneously thought to communicate essential truths but that this communication is inherently suspect and not to be trusted. Developed through research into the history of ventriloquism at the Harry Price Archives, Navel Gazing uses the idea of belly speaking—which was not originally an entertainer’s trick but rather a rumbling sort of prophetic internal speech—to explore the ways we understand and articulate our bodies. Workshopped through performance exercises with Aby Watson and Joe Howe, Navel Gazing explores science’s predilection for fiction—weaving together personal narrative, archival materials, and contemporary research linking the gut to mental health.

Kirsty Hendry is an artist and facilitator living in Glasgow who develops projects exploring labour, work, and the body. Selected projects include: Navel Gazing a moving image work commissioned as part of Collective Gallery’s Satellites Programme (2020); Reader’s Digest commissioned by Market Gallery Glasgow as part of Reproductive Technologies (2019); Self-Service , publication and events programme in collaboration with Ilona Sagar at CCA and GoMA for Glasgow International 2018; So You See Me at Cooper Gallery, Dundee (2017); Colourless Green Ideas Sleep Furiously , Figure 4 at Baltic 39, Newcastle, UK (2017) and Tenderpixel: Futures , ICA, London, UK (2015).

NYX EDC is a collaborative drone choir and otherworldly electric chorus, re-embodying live electronics and extended vocal techniques. 

This is an hour long mixtape made specifically for Radiophrenia from the outtakes and unused materials from a new collaborative work ‘Mutualism’. The full version of this project is a 360 video and music piece to be released in early 2021. 

https://nyx-edc.com/

https://nyx-edc.bandcamp.com/

http://www.peterricesounddesign.co.uk

 

 

A nondescript hum smothers the echoes of a distant playground. Eeriness intensifies as the afternoon loses the daily battle against the evening soundscape. The sonic familiarity puts the name of a place on the tip of the tongue right as the scene changes. The hum left unannounced; now there’s something else filling the space, something deeper, more spiritual even. Repetition gives way to flow; quietness prevails, for a while at least. Continental lines may have been crossed, the only way to find out is to wander further, facing novelty until everything becomes known again. A faint sadness lingers.

Subespai is Mauri Edo, a Sydney-based sound artist working with found sound, repetition and volume to explore and express complex thoughts and ideas on existence, society and the individual.

 

1.Camilla Hannan – Anouk

A short radio piece dedicated to my daughter, Anouk who in this strange time has been my light at the end of the dial. Made from field recordings taken from around my home with both my children.

Camilla Hannan is an Australian audio producer, sound artist and field recordist. Over the last twenty years, her art and radio works have been exhibited, and broadcast in Australia and internationally. Camilla’s work is centred on a deep fascination on the way in which we listen to the world and to others. camillahannan.com

2. Leah Reid – Sk(etch)

Sk(etch) is an acousmatic work that explores sounds, gestures, textures, and timbres associated with the creative process of sketching, drawing, writing, and composing.      

Leah Reid is a composer of acoustic and electroacoustic music. Her primary research interests involve the perception, modeling, and compositional applications of timbre. In her works, timbre acts as a catalyst for exploring new soundscapes, time, space, perception,and color. In recent reviews, Reid’s works have been described as“immersive,” “haunting,” and “shimmering.” Her works are frequently performed throughout Europe and North America. Reid received her D.M.A. and M.A. in music composition from Stanford University and her B.Mus from McGill University. She is currently an Assistant Professor at the University of Virginia.  http://www.leahreidmusic.com.   

3. Katie McMurran – Melt

The stages of the heart in three acts.

 Katie McMurran is a sound engineer for broadcast and a composer. She uses field recordings, music and text to create sonic landscapes that explore internal dialogs and contemplations. Her pieces have been shared through various outlets including Sound Cafe, New Town Arts, New Adventures in Sound Art, CITR and Association Octandre. https://soundcloud.com/km-sound

4. Discount Gnostic – If You Go Down to the WoodsToday

Using recordings made in the forested seaside town of Pineto, Italy, the listener is invited to stroll into the pines and delve deep inside an increasingly claustrophobic flora. Drawing on the forest as a transgressive space, an edge land, everyday sounds are far from reassuring. Such disorientation is ably assisted by the resident cicada population and its questioning counterpoint.

Exploring field recordings,abstracted sound sources and free improvisation Discount Gnostic 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.

5. Daniel McKemie – Automatic Shortwaves

A work for shortwave radios, computer, and analog filters. Using the radio as a sound source, it
is routed through a low-pass filter and the software sends intermittent control voltage signals
to the cutoff frequency and resonance of the filter. It is the role of the performer(s) to engage
with the messages provided by the software as well as create their own paths and musical form by establishing those goals through practice.

Daniel McKemie is an electronic musician and percussionist, based in New York City. He focuses on technology that seeks to utilize the internet and browser technology to realize a more accessible platform for multimedia art. He is also researching and developing new ways to interface modular synthesizers to software and vice versa. This recent work has allowed for
complex, interactive performance environments to emerge, in which the software generates
compositional processes and actions in the form of control voltage generation sent to the
synthesizer, and conversely can analyze control voltage signals from the synthesizer to
determine future activity.

https://www.danielmckemie.com

Stain is a solo radio play written, composed and performed by artist Conor Baird. The piece explores an acutely personal relationship to various fluids and viscosities (biological and inanimate) by recalling real fragmented memoirs that travel through time, addressing the specific environments and experiences surrounding such fluids. 

These confrontations of uneasiness, intimacies and violence hope to release and purify a new lived body from shame and contamination.Initially staged as a visual piece of theatre throughout 2019, Stain has now been reformed into sound and radio.

Excerpt of live performance at The 343 Belfast 2019 with Cucina Povera.

Conversations is a collection of telephone recordings consisting of one single serial chain of phone calls from each of the 50 United States. The initial confused answerer is recorded and then used to playback in a new call to another randomized receiver. That person’s response is then taped and played back for another confused recipient,over and over, State to State… Back in 2016 I began the generative process of calling and recording residential telephone numbers in Minnesota, and 4 years later I’m halfway to completion with all 50 States.

 Stream a selection of Conversations here:

http://www.ubu.com/sound/locher.html

http://www.brandon-locher.com

Conversations is a collection of telephone recordings consisting of one single serial chain of phone calls from each of the 50 United States. The initial confused answerer is recorded and then used to playback in a new call to another randomized receiver. That person’s response is then taped and played back for another confused recipient,over and over, State to State… Back in 2016 I began the generative process of calling and recording residential telephone numbers in Minnesota, and 4 years later I’m halfway to completion with all 50 States.

 Stream a selection of Conversations here:

http://www.ubu.com/sound/locher.html

http://www.brandon-locher.com