22 Sun

I have been broadcasting a weekly show on a voluntary station in Milton Keynes for 29 years now but have neverreally spread my wings to other stations though once applied to my local BBC station but they claimed I “didn’t fit their audience demographic”.So I have ploughed my own furrow for years building up regular listeners and sometimes hitting a nerve with thousands of listeners to my Pink Floyd, Eno mixes. Since recently moving to Scotland and a new home studio by Xmas I thought I should really approach a wider audience.

This show can be heard here:

https://www.mixcloud.com/Gardener/wobbly-sounds-a-flexi-disc-mix/?fbclid=IwAR2XjZ09eWqLqkQVhF5oN8qA6MkcWJ3eCWYaUrdgkVV8VvMinjcoxT9Nmb4

https://gardenofearthlydelights.com/

 https://www.mixcloud.com/Gardener/ 

https://www.fourcornersbooks.co.uk/books/wobbly-sounds/ 

 

 

Agrinding, physical succession of footprints, as sound sculptor and media artistTimo Kahlen meanders by foot – at varying and personal speed – through varioussoundscapes of field recordings of interfering radio waves, of  twittering, gurgling, hissing, humming staticnoise, of audio dust and residue inbetween radio stations, recorded forKahlen’s archive of Noise & Beauty, from 1989 to the present.

Sound sculptor and media artist Timo Kahlen (*1966) chooses to workwith the ephemeral: with wind and steam, with light and shade, with pixels anddust, with sound, noise and vibration. Received invitations to present hissubtle and surprising work at more than 200 exhibitions of contemporary mediaart since the 1980s: including the inaugural solo exhibition at Kunst-WerkeBerlin (1991), at MANIFESTA 7 (2008), the ZKM (2012) and the Ruine der KünsteBerlin (2020).

http://www.timo-kahlen.de

 

 

It’s So Easy Pt. 3 is an audio installation made from recordings of my singing saw processed and layered, then triggered to produce semi-random harmonies. It starts as one great swellof all the bowed parts playing together, but over 10 minutes they are gradually teased apart until there is a constant swirl of notes. These are then semi-randomly detuned and retuned over five minutes, then brought back in lineover another 10 minutes until we arrive back at the beginning, at which point the piece takes another big breath in and out, and so on.

Ollie Hawker is a Glasgow-based composer currently studying for his Masters degree at RCS. He is primarily interested in the complex mixture of data-overload futurism and nostalgic romanticism in his personal relationship to the internet and its folk culture.

https://soundcloud.com/olliehawker

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

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

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

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


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

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


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


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


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

Lloyd Dunn (Prague) http://www.nula.cc


Anna Friz(Vancouver) http://nicelittlestatic.com

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

Rodrigo Ríos Zunino (Valparaíso) http://www.kunstradio.at/BIOS/zuninobio.html

Live broadcast 16th July 2020 from SaarländischesKünstlerhaus on Resonance Extra, Soundart Radio, WGXC, Wave Farm, RadioTsonami, π-node & Radio Corax. Later on Radio ARA, JET FM, Radio Panik& Radio Orange.

Produced by Mobile Radio with support from π-node.

During the first 42 days of Covid-19lockdown, largely confined to home, in the period of daily exercise I recordmyself (and companion) walking away for up to 20 minutes in any and alldirections from our home and then back. Daily repetition of time and distancedraws an edge, the shore of an imaginary island. With Cagean thoughts, I randomlyboth re-order days and select start points within recordings to compose a very randomlockdown. On an imaginary island, time is re-ordered and condensed, reality reconfigured- a reflection of the sense of that time.

My practice reflectsmyexperience of being in and walking through natural environments. I use soundand text to (re-)present time, distance, place and space of the landscape andto provide an opportunity for a listener to consider what it means to movethrough the landscape at a human pace and scale. From mono, stereo orquadrophonic recordings made whilst walking, I create sound works presented asmulti-channel installations, sound walks and radio programs. Written or spokenand transcribed notes made whilst walking provide the material for poems, oftenin the form of haiku, and other text works.

https://martinpeccles.com

https://martinpeccles.com/other-sound-works/the-42-walks-of-contencion-island/

https://soundcloud.com/mpeccles

On Chorus is a public sound art project by Christopher Steenson. The project uses field recordings of the dawn chorus and broadcasts these sounds across Ireland by using Iarnród Éireann’s network of train station PA systems. Launching on Monday 16 November 2020, the sounds of birdsong will inhabit train station PA systems across Ireland, from 8:00am to 9:00am, every day, for two weeks, ending on Sunday 29 November 2020.

On Chorus aims to reflect on how we shape and effect the qualities of our sonic environments by highlighting the dramatic reduction in noise pollution experienced during the first Covid-19 lockdown. By taking these of recordings of lockdown and broadcasting them across the country, On Chorus invites us to listen to our recent past, as a way of reorienting ourselves to the present moment, questioning our entangled roles in shaping nature, as we progress beyond the ‘new normality’ of the current pandemic. For those essential workers hearing the sounds of birdsong on their early-morning commute, this project is intended as a gesture of thanks and solidarity.

At the same time that birdsong will be heard in Iarnród Éireann train stations, birdsong will also play on a website created specially for the project, called http://www.on-chorus.com. Birdsong will play each day on this site between 8:00am and 9:00am, for people who are still self-isolating or unable to travel. The On Chorus website also presents a series of 35mm photographs created by Christopher Steenson. Also featured on the website are a series of texts by a group of invited contributors, including Christopher Steenson, Jez riley French (sound artist), Mark Garry (visual artist) and Suzanne Walsh (writer/artist). The http://www.on-chorus.com website has been developed in collaboration with creative publishing platform Fallow Media, created by Ian Maleney. 

Hear the Wind Sing is a longform soundscape, generated by a MAX patch based on chance operations. Inspired by YouTube walking videos and their slow paced, quietly poetic aesthetics, it lays out a hypothetical sonic topography. It draws on field recordings, but presents a slightly surreal urban soundscape that is no documentation of an existing place. Rather, this synthetic sound environment is meant to connect with the recollections and imaginations of the listener. Thus, radio may become a site for the interrogation of our relationship to the spaces we inhabit or simply provide an opportunity for escape and

mental travel.

Katharina Schmidt is a musician based in Berlin. Trained as a drummer, her main interests lie in indie and experimental music. She works with Cashmere Radio, SVS Radio, and Sonic Field, and holds a master’s degree in Sound Studies from the Berlin University of the Arts. Her work has been played internationally; generative works have been shown at galleries such as Kunstverein Braunschweig, Lehnbachhaus (Munich) and Lothringer 13 (Munich), while radiophonic pieces have been featured at festivals such as Radiophrenia and Borealis Festival.
For more info, you are welcome at http://www.katharina-schmidt.net

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 acoustic tinkerers Frauke Berg and Ralf Schreiber from Düsseldorf.

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:
Frauke Berg, lives in Düsseldorf and is a visual artist and musician. Numerous performances, radio works, animations and installations, have been created in various collaborations and contexts. Her main interest is the work In-Situ and communication. Language collages are used as well as field recordings, sounds, electronics and her own compositions. As initiator of the Hallraum project (Worringer Platz), she invites artists at the interface between music and visual arts. 

Ralf Schreiber lives in Cologne and works with electronics, kinetics, sound installations and electronic music. His playful and experimental works create soft sounds and tiny movements and explore low-energy transformation processes (the conversion of light into movement and sound). His objects and installations often contain minimal robot technology, chaotic processes and self-sustaining systems.

Web links:
http://www.fraukeberg.de    Frauke Berg
http://ralfschreiber.com    Ralf Schreiber
https://www.goethe.de/warschau    Goethe Institut Warsaw
https://radiokapital.pl/    Radio Kapitał

Alex McCartney and Carrie Skinner – Inverse of the other (Negative) (10 mins)

A spectrogram is a visual translation of recorded audio into a spectrum of frequencies, as it
varies with time. We are interested in how the spectrogram displays audio in a visual way and
with greater clarity than can be gained from solely aural perception. The output of a
spectrogram is a graph of varying densities and colour: in this work we will use this as surface
or material for mark making. Negative mark making on a spectrogram engenders specific
decibel reduction at certain frequencies. Similar to physical mark making, such as with a
pencil, depth or pressure can also be expressed by decibel reduction on a spectrogram. The
work is an experiment in auditory absence: can we conjure a sense of something missing in
the audio and effect this on the listener?

This consists of two 10-minute works which are the inverse of the other. Like bookends, the first is broadcast on the first day of Radiophrenia and the second on the last day at the same time.

Lutenist Alex McCartney has a busy performing schedule which takes him to concert halls
across the world. ‘McCartney virtually shreds his accompaniments with fervent plucking and
percussive strumming.’ The New Yorker. Alex has released five solo recordings, the latest of
which Paladin was released in 2019: ‘McCartney navigates these complex works with ease.’
Limelight. Alex is a BBC Introducing artist and performs on BBC Radio 3, he is also life
member of The Royal Society of Musicians. Alex co-founded and runs the Veterum
Musica micro record label. Recent interests include audio-focused video-game development.

Carrie Skinner is a visual artist working with performance based in Glasgow. She is into
figuring out contemporary cultural relationships with time and its multiple concepts through
popular imagery and themes from Gothic and Science-Fiction genres. Recent projects
include; ‘let the music play on and on and on and on and on and on and on’, CCA, Glasgow,
2019; ‘on the waves of the air, there’s dancing out there’ Glasgow International Festival,
2018; ‘woah oh oh oh, on the radio -adio –adio’, Radiophrenia, Glasgow, 2017. She has been
getting to grips with an experimental performance practice that switches between the
languages and conventions of gallery and theatre, and getting overexcited by the
contradictions of presenting, documenting and archiving the ephemeral moment of
performance.

Includes binaural recordings, headphone listening welcomed.

How to weave a story into being when I am caught, tangled in the middle
How to reach the crux when the wyrding way turns me about and about and I know the point is far away. And I have to crawl on bandaged knee to get there
How to share a journey when you were never there to feel the stony ground
What rough beast is waiting, waiting to be born in the embers
When were they burned?

The task of the wild woman is to open and be opened
The doors of perception are always just beyond reach but a constant cycle of life death life, of re-initiation will bestow many keys
The labyrinth will determine the correct key
And you are the whole
The task of the wild woman is to open eyes and open thighs and allow the light to pour in

To pull the thread and follow around the walkways
Then gather it all together and weave the tapestry of her own existence
To gather dead stuff, lay it down, sing over it, breathe from the vagas enraptured soul and begin again, remake the broken body and sing the old song until it is new.

We travel through time and space while we listen
You my friend and I
I guide you and you guide me

Maybe by the end of you listening to me I will have the answers

An experiment in an audio-ing a labyrinth;  tangling and untangling the thwarted pathways of a mythopoetisised history towards a transformational fire ritual.

Nwando Ebizie is a constellation point for a spectrum of multidisciplinary works that call for RADICAL change.

She challenges her audience to question their perceived realities through art personas, experimental theatre, neuroscience, music and African diasporic ritualistic dance. Carving out her own particular strand of Afrofuturism, she combines research into the neuroscience of perception (inspired by her own neurodiversity) and an obsession with science fiction with a ritualistic live art practice.

Works include her immersive sensory environment Distorted Constellations, her pop persona Lady Vendredi (a blaxploitation heroine from another dimension!) and the building of her long-term operatic experience, Hildegard: Visions. This award winning work has toured across the world. She has performed in Tokyo (Bonobo), Rio de Janeiro (Tempo Festival), Berlin (Chalet), Latvia (Baltais Fligelis Concert Hall) and Zurich (Blok) as well as across the UK from Home MCR to the Barbican and Southbank Centre.

Nwando works across media, genre and artforms creating mythopoetic metanarratives and alternate realities. Her work is a drawing together of the pieces that she is in a frozen moment of ever-living infinite regress.

Always political and grounded in a mytho-scientific perspective she invites viewers and participants to join her at the Crossroads. At the crossroads where you can choose to pass through the cosmic mirror and touch alternate realities. The realities of what could have been and what should have been and what may possibly be. She works with speculative fictions, possible dreams and lucid worlds.

http://www.nwandoebizie.com

re:Source invites a re-connection with the awesome powers and ethereal beauties of water and electricity.

Created from the sounds of a micro-hydro scheme construction site in South Wales its abstract flow of sounds -relentless, restless, unpredictable – moves through moods, leaving open possibilities of imaginative interpretation.

The human race is dependent on electricity andwater.

Electricity enabled the making of, and enables the hearing of, this piece – internally and externally. We are 60% water. Water, as Nan Shepherd said ,‘does nothing, absolutely nothing, but be itself’.  But water is stronger than rock – and an increasingly political element.

Leona is a practitioner exploring Sound in its widest definition.  From the hardly heard and underseen, the conscious and not-so-conscious, she creates events/performances and installations centred around sound, voice, language and spatiality.Using field recordings and site-responsiveness, as well as text,she actively seeks to highlight physicality and context. 

Her work makes a concerted effort to reach into an audience’s imagination, encouraging their ability to listen.  She believes listening to be vital to any healthy society.

Leona’s work has been presented and performed in galleries, but it’s just as likely to be unexpectedly discovered responding toplaces and spaces not usually associated with art. 

http://www.leonajones.co.uk

http://www.baroquecelloproject.com

https://soundcloud.com/wordssoundsspaces

 

 

 

1.  Louise Wilson – Tīkapa Moana

Tīkapa Moana (Hauraki Gulf) is amarine park in northern Aotearoa (New Zealand). It is home to a diverse range of invertebrate, fish, bird and marine mammal life, including many endemic species. It also provides many economic gains for the adjacent human population via fisheries and tourism, which are currently unsustainable with the finite nature of a natural resource. This work aims to highlight the diversity and  value of Tīkapa Moana by displaying the biological sounds which occur in thisarea. All of the sounds were recorded on the seabed at a variety of locations between2019-2020.

Louise Wilson is a PhD student from Glasgow, Scotland currently researching the impacts of anthropogenic noise on coastal habitats as part of her PhD at the University of Auckland’s Leigh Marine Lab. 

http://liminal.c1.biz/

2. Lin Li – Good evening, Dada, Help!

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

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

3. Jean François Cavro – Perspective

Electronic Sound work

Il est diplômé du Conservatoire National de Région de Lyon (CNR – classe de Denis Dufour) et du Conservatoire National Supérieur de Musique de Lyon (CNSM – classe de Philippe Manoury et Denis Lorrain), en composition instrumentale, électroacoustique et informatique musicale. Il a également suivi le cursus de DEA musicologie du XXième siècle à l’IRCAM (Institut de Recherche et de Coordination Acoustique/Musique – Paris. Il est titulaire d’un Master II Musicologie Recherche – mémoire de Master sur les représentations sonores urbaines.

https://mtwws-orvkns.tumblr.com
https://clochers42.wixsite.com/clochers42

4.  Fabian Zuniga – Carara

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.

5. Celeste Oram – Questian

A radio interview. Which is to say, an interview with a radio. (Or perhaps, being interviewed by a radio.) And in which some questions are better answered by spontaneous singing. 

 Music: ‘Casta Diva’ from the opera ‘Norma’ by Vincenzo Bellini, performed by a Sony ICF-P26 & Celeste Oram.

 This piece was originally commissioned by Sisters Akousmatica for their “Cutting Laps” project at the2019 Castlemaine Festival.

Celeste Oram is a musician who grew up Pākeha in Tāmaki Makaurau/Auckland, Aotearoa/New Zealand and iscurrently living in California, amidst land stewarded by the Kumeyaay Nation.She composes musical scenarios for radios, orchestras, chamber ensembles,voices, instruments—and most often some combination of the above—in which performers & listeners explore sonic & social histories, micro-cultures,and utopias.

 

listening to place or position is often a solitary act, by necessity. one persons idea of ‘still’ is different from another’s. sometimes in the context of the workshop a small group of people find a commonality, or a respect for the shared experience of exploration. these recordings come from one such event, in Aarhus. the sound of work, of repair, of port industry

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
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

Sonic Escape Routes seeks to explore the following: what is the spiritual core and where is the liminal space for a people whose freedom to thrive remains in question? and what are the varying routes that anchor us toward flight or resistance? Through a collaborative sound and visual performance, the artists aim to assert and embed their own personal narratives and histories to traverse the archives of Weeksville in order to answer these questions.

Performed & Created by Akeema-Zane & Rena Anakwe

Curated by Joyce LeeAnn Joseph of Archival Alchemy®

Hosted by Weeksville Heritage Center as part of their Legacy Project’s ‘Sensing History’ programming on October 24th & October 25th, 2020

*This audio is the an archive of the audio visual companion that can be watched here: https://vimeo.com/aspaceforsound/sonicescaperoutes

“A Tourist” is a soundart piece that takes you through spaces and scenes, both serene and intense,the duality of planet earth from a distance.  A never ending contemplativeloop that allows the viewer to experience all we have to offer, good and evil,as “A Tourist”.

 RichardHamilton is a professional sound designer/mixer for movies and tv. He has mixedfor clients such as Google, Waze, Coors Light, and Verizon. He is also anaccomplished sound artist, whose soundscapes have played at the Megapolis AudioFestival in Philadelphia and Radiophrenia in the Glasgow Center forContemporary Art. In 2015 he was nominated for an Indie Series Award for BestSound Design for the indie web series “Conversations from the Afterlife”. Whenhe isn’t making strange noises under peoples projects (or his own) he enjoysrock climbing, surfing, making music, and playing Dungeons and Dragons.

website – (business)  https://www.dragonflyaudiopost.com/

(personal)  http://www.westaveaudio.com/

A Common Spring​ is the radio adaptation of Isabella Shields’ work-in-progress horror novel of the same name, accompanied by a sonic response from the artist Adam Benmakhlouf. 

Taking its name from Edgar Allan Poe’s ‘Alone’, ​A Common Spring follows five content creators for ​‘Interim​’ magazine who have been sent to cover the village of Hareton Gowt’s annual fete. The existing romantic and resentful tensions in the group complicate their difficult engagement with the villagers, and realities and relationships become  increasingly destabilised as their coverage of the fete takes increasingly horrifying turns. In its mood, the story itself is designed to create a pervasive sense of disturbance and dissonance. As it develops thematically, it becomes a consideration of personal authenticity, the erosion of individualism, and the mutability of selfhood. 

In turn, Benmakhlouf’s soundscape combines original composition and bootlegged mixtape  in a theme of suspense that emphasises the multiplicity and re-figurations of the story through an anxious interaction of a diversity of audio materials. For ​A Common Spring​, Adam treats the sonic and textural audio elements as a further means of creating a surprising and out of the ordinary encounter in order to facilitate a sense of leaving the rigid patterns of daily avoidance or emotional disengagement.

A Common Spring is based on an original concept by and has been developed with Harlan McGlinchey, whose vocal performance features in this broadcast.”

Isabella Shields (she/her) is a writer and curator whose work revolves around the collapse of distinctions within culture, and the construction of relationships. She is director of 16 Nicholson Street, a contemporary art gallery in Glasgow which she established in 2016. She is undertaking her PhD in Literature at the University of Edinburgh, and her continued academic and critical focus is on trauma theory, intermediality, and the dissolution of boundaries within culturally prominent systems of representation.

Adam Benmakhlouf (they/them) is a documentary fantasist working in drawing, sound, writing, teaching and programming. Committedly manifold, in their practice they embody and experimentally represent nuanced strategies of world-building formed out of necessity and hope by BIPOCs and queers.

https://www.isabellashields.com/

The piece was premiered on the Radio Lancashire programme On the Wire, whose longstanding commitment to dub reggae provided one of the inspirations for the piece. Above and amidst 16 minutes of righteous dub and Lancastrian-tinged post-punk, Lucy, an airborne sprite, tells of how she is damned to endlessly repeat Satanic stories about Lancashire that she has been told by an evil and shadowy radio DJ named ‘Alan’. The On the Wire broadcast is crucial to the work’s narrative, and to the final triumph of darkness.

Paul Rooney is an artist/musician based in Liverpool, who makes music with words “investigating the intersections of music, myth, memory and place” (The Wire magazine). His records and installations explore the unpredictable narratives that haunt everyday objects or places, and the comically unreliable nature of narrative itself. Paul has shown in the British Art Show, at Matt’s Gallery, Londonand Tate Liverpool. The original red vinyl 12″ of LucyOver Lancashire received enthusiastic support from Huw Stephens (Radio 1), Marc Riley (6 Music) and Steve Barker (Radio Lancashire) amongstothers. Mark Leckey recently played it on his NTS Radio show.

 

http://www.paulrooney.info

http://www.owdscrat.com

Includes binaural recordings, headphone listening welcomed.

How to weave a story into being when I am caught, tangled in the middle
How to reach the crux when the wyrding way turns me about and about and I know the point is far away. And I have to crawl on bandaged knee to get there
How to share a journey when you were never there to feel the stony ground
What rough beast is waiting, waiting to be born in the embers
When were they burned?

The task of the wild woman is to open and be opened
The doors of perception are always just beyond reach but a constant cycle of life death life, of re-initiation will bestow many keys
The labyrinth will determine the correct key
And you are the whole
The task of the wild woman is to open eyes and open thighs and allow the light to pour in

To pull the thread and follow around the walkways
Then gather it all together and weave the tapestry of her own existence
To gather dead stuff, lay it down, sing over it, breathe from the vagas enraptured soul and begin again, remake the broken body and sing the old song until it is new.

We travel through time and space while we listen
You my friend and I
I guide you and you guide me

Maybe by the end of you listening to me I will have the answers

An experiment in an audio-ing a labyrinth;  tangling and untangling the thwarted pathways of a mythopoetisised history towards a transformational fire ritual.

Nwando Ebizie is a constellation point for a spectrum of multidisciplinary works that call for RADICAL change.

She challenges her audience to question their perceived realities through art personas, experimental theatre, neuroscience, music and African diasporic ritualistic dance. Carving out her own particular strand of Afrofuturism, she combines research into the neuroscience of perception (inspired by her own neurodiversity) and an obsession with science fiction with a ritualistic live art practice.

Works include her immersive sensory environment Distorted Constellations, her pop persona Lady Vendredi (a blaxploitation heroine from another dimension!) and the building of her long-term operatic experience, Hildegard: Visions. This award winning work has toured across the world. She has performed in Tokyo (Bonobo), Rio de Janeiro (Tempo Festival), Berlin (Chalet), Latvia (Baltais Fligelis Concert Hall) and Zurich (Blok) as well as across the UK from Home MCR to the Barbican and Southbank Centre.

Nwando works across media, genre and artforms creating mythopoetic metanarratives and alternate realities. Her work is a drawing together of the pieces that she is in a frozen moment of ever-living infinite regress.

Always political and grounded in a mytho-scientific perspective she invites viewers and participants to join her at the Crossroads. At the crossroads where you can choose to pass through the cosmic mirror and touch alternate realities. The realities of what could have been and what should have been and what may possibly be. She works with speculative fictions, possible dreams and lucid worlds.

http://www.nwandoebizie.com

Dartington Radiophonic is an audiodrama research workshop operating out of Soundart Radio, Devon. We explore electronic manipulation of the voice, as well as pioneering the use of Polyphonic Poetry to create sound textures and dramatic chorus pieces. 

https://www.mixcloud.com/DartingtonRadiophonic/

The Bells of Canongate is an experimental radiodrama/sound poetry piece for three voices, We have worked to deconstruct and reconstruct texts, including Medieval Mystery Plays. The soundscape uses polyphony, sound poetry and aleatoric principles. 


The Bells of Canongate focuses on beginnings and endings in speech and communication, imagining what would happen if the bells of Canongate Cemetry began ringing, what stories the dead might bring with them and how they might articulate physically.

‘In-between, longing’ is the sonicinterpretation of ‘Brise Soleil’ written by Michael Langan. The text tells amemory of Michael’s husband, the artist Henrique Neves, about an encounter witha boy when he was 6. The groups of words scattered on the page invite thereader to wander around to recreate their own version of the story.  Based solely on recordings of Henrique’s voice, ‘In-between, longing’ meandersinfinitely through the possible versions of this formative experience. The piece is algorithmically generated from a random seed. This is the firsthour of an exclusive version for Radiophrenia (seed 879).

Jean-Philippe Drécourt is anelectroacoustic music producer living in Lisbon, Portugal. He combines fieldrecordings, samples and live performance to explore how context can change ourperception of sound. He creates sonic experiences at the boundary between thenatural and the artificial, that retain the essence of the original sounds usedfor the composition.
His work has been performed in Barreiro, near Lisbon and is featured on theCities and Memory project and the Aporee Maps project.

http://drecourt.com

1. Paul Baran – For Akos Rozmann                                                                 

This is effectively a tribute to a fearless composer whose life inspired me during a foray at Stockholm”s well known studio EMS where he worked.

 2. Neil Verma – Flemish Noir

This piece draws on Natali Blugerman’s concept of the “Inverted Soundwalk,” a practice that emphasizes the bodily sounds of the walker and sonic verticality rather than encountered sounds and horizontality. This particular inverted soundwalk was recorded between 3:00 and 5:00 am on a wet night in Ghent, Belgium in November of 2018. I think of it as vernacular Foley art, a footstep track for a noir film that could exist.

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

3. Ivor Kallin  – Sangs of Bute, Eh R_09_0103                    

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

4. Sweaetshops – An introdoctrination to We Eagerly Await Your Complete Submission No 7

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

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

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

https://www.swextshops.io

5. Vincent Eoppolo – Tongues Like As of Fire                         

From a collection of works are 2 track fixed media compositions realized in 2019-2020. 

Inspired by the Biblical verse “And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. And they were all filled with theHoly Ghost, and began to speak with other tongues, as the Spirit gave them utterance.”

Composer: VINCENT EOPPOLO (Ioppolo) – Wilmington,Delaware, U.S.A.

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

https://soundcloud.com/societys-realization

6. Ortooeen Waves – Moonglow        

My name is Paul Harrison – I’ve been messing around with sound since the 1980s -have been in the noise group Smell & Quim – used to run Fiend Recordings CDR label – these days make all sorts of different sounds using different names & do collaborations – recent ones include Howard Stelzer, Scorpiacee, Chandor Gloomy, Andy Jarvis….

My newest project is Ortooeen Waves – all tracks being inspired by my fave books by my fave author!

https://xemporium.bandcamp.com/album/ballardian            

 

Voices In Dark Places is an immersive audio experience designed to be listened to, through headphones in the dark. The performance explores the notion of identity, memory and truth by leading the audience through a solely auditory journey. The piece unlocks the subconscious and invades the personal forcing the audience to question their own identity.Is anything innately us or is it just rules, expectations and perceptions imprinted on our brains? What might be uncovered when the subconscious is explored?

Tegan Imbert is a recent MLitt Theatre and Performance graduate from The University of Glasgow, with an interest in participatory audio experiences. Her work plays with juxtaposition and contradiction: individual listening versus collective experience, instruction versus chaos and, over stimulation versus absence. Her work forces its participants to question their own identities.

A deep scan of the youtube sphere. Hidden gems and rare finds re-composed.

A number of untitled videos, pronunciation videos, high school choir practices, accidental uploads and compression algorithm tests has been meticulously collected, edited and rearranged, resulting in an hour long “deep internet music” radio piece.

Strictly under 20 views.

Georgios Mizithras (MIZI) is a musician, sound artist and creative programmer. He is active both as a composer and a performer in a range of fields, including acousmatic music, improvisation, sound art and music for theatrical plays. His current interest lies in media archaeology and the re-purpose of old media as devices of artistic expression.

He has studied at De Montfort University’s Music Technology and Innovation department (Leicester), is a graduate of composition at the Music Studies department of the Ionian University and holds a Master’s degree in Musicology: Music Technology from the National and Kapodistrian University of Athens.

 https://www.youtube.com/channel/UCP4Qy5k2ZoxBaLIWmPrzNNg
https://mizithras.bandcamp.com/releases  
https://kohma.bandcamp.com/

Which signals are sent at night – inthe radio, in the garden – and which are also received? Thisruminates on magnetism, movement, signals, and listening; the often unheard,unsung, of the night. As listeners, wecontemplate air-borne heavy metals,the return of the nightingales(listening out for the silent ones)and wait a bit in the night air,tuning in to the nightcalls. It wascommissioned by Soundcamp, London, for their extended Reveil programmein 2020, and was initially a livestream of a microFM transmissionfrom a garden in Berlin. It includesthe poem oktopus by Kinga Tóth.

http://streams.soundtent.org/2020/projects/nightcall-radio

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

https://mattersoftransmission.wordpress.com

 Kate Donovan (she/they)

http://www.sensing-media.de

https://mattersoftransmission.wordpress.com

 

A radio art program, blending soundart and storytelling, inspired by life in these pandemic times of 2020, rooted in improvisational shortwave radio frequencies-sweep recordings by Pete Petrisko.

Public domain-sourced material excerpts include “You Are There” (radio show, 1948); Librivox. recordings of sci-fi short stories The Gray Plague by Lloyd Eshbach (1930) and The Street That Wasn’t There by Clifford D. Simak (1941), poems “Year That Trembled” by Walt Whitman and Sarojini Naidu’s “Past and Future”, essay Reflections on the Influenza Epidemic (1918) by Francis J. Grimké; radio news broadcasts, 1941; BLM rally (Kennebunk ME) freesound.org recording by KTManahan.

Media Petros’ Pete Petrisko is a Phoenix AZ-based multidisciplinary artist.

https://www.facebook.com/PetePetrisko 

https://mediapetros.bandcamp.com/

https://soundcloud.com/mediapetros

 

 

 

 

 

 

 

 

A radio art program, blending soundart and storytelling, inspired by life in these pandemic times of 2020, rooted in improvisational shortwave radio frequencies-sweep recordings by Pete Petrisko.

Public domain-sourced material excerpts include “You Are There” (radio show, 1948); Librivox. recordings of sci-fi short stories The Gray Plague by Lloyd Eshbach (1930) and The Street That Wasn’t There by Clifford D. Simak (1941), poems “Year That Trembled” by Walt Whitman and Sarojini Naidu’s “Past and Future”, essay Reflections on the Influenza Epidemic (1918) by Francis J. Grimké; radio news broadcasts, 1941; BLM rally (Kennebunk ME) freesound.org recording by KTManahan.

Media Petros’ Pete Petrisko is a Phoenix AZ-based multidisciplinary artist.

https://www.facebook.com/PetePetrisko 

https://mediapetros.bandcamp.com/

https://soundcloud.com/mediapetros