11 Wed

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

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

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

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

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

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

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

Soundcloud.com/limbotapes

limbotapes.bandcamp.com

facebook.com/limbotapes

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

This is an episode of the weekly experimental / collage radio program, “Mid-Valley Mutations.” This is a special episode, collecting four excerpts from three previous broadcasts, all featuring a mixture of sound collage and live performance.

Beginning in 1993, Austin Rich has been creating media in a variety of formats, offering DIY / collage interpretations of ’zines, radio and music. Influenced by a combination of Cometbus, Don Joyce, Old Time Radio and Thrift Store aesthetics, Austin began broadcasting radio in 1998, and has continued through two digital revolutions and six format changes, to offer his particular take on radio and art. 

midvalleymutations.c

Hour 1 – Lowlandman’s Bay – album version

Hour 2 – World Organ

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/dinah-bird 


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


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


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


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

Produced by Mobile Radio with support from π-node.

“Each impro starts more or less from a field recording from my rear window in a small courtyard in the northern area from Paris Montmartre. During the springtime 2020, two young girls from our neighborhood were regularly playing together. I begun to record them from our flat on the fourth floor. listening to nothing else than their small talks and a natural reverb. The girls were happy, their noisy children’s games was a bit of fresh air… One day a deranged man from the building next shouted at them, saying it was against the law and we should all be ‘locked down’. He called the police, who came, but did nothing. Since this incident the girls have been too scared to play in our courtyard, to our regret. From these recording sessions came 7 volumes of ‘Rear Window series’. 

https://axelgomo.bandcamp.com/

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

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

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

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

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

http://meagreresource.com

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

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

http://www.post-global.com

http://www.kanal103.com.mk

1. Colleen Keough – Perpetual Drift

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

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

http://www.colleenkeough.com

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

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

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

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

https://twitter.com/HolbeckStill

 3. Joao Oliveira – N’vi’ah

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

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

4.     Lisa Fabian – NORDSJÖ

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

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

5. Yamachan – Moods

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

6.  Kengel Maysonet Baerga – Mamma Mia

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

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

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

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

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

8.     Jamie Kane – The everted rim of a vase

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

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

This work of audio storytelling depicts the fictional myth of an island (Faràn) in five monologues, conceived as an ode to the phenomenon of ‘tide’. The monologues are quasi accompanied by five pieces of music each of which takes inspiration from different seascapes created by varying states of the tide. Each composition is led by a specific imagery of sea alluded to in the respective monologue. For the storyline, I’ve drawn from diverse folklores and traditions such as Breton, Korean, Torajan and Mexican, representing some of the ways
in which these cultures deal with tide and/or death.

Una Lee is an artist working with sounds, stories and sensations in perpetual pursuit of found sound and ways for alternative storytelling. She sings, narrates, writes and tells stories, improvises, collects field recordings and produces immersive compositions. Many of her works address to time, memory, human condition and ecology. She holds MA and PhD in Sonic Arts.
http://www.unalee.org

1. Canaan Balsam – infinite value through absence

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

https://soundcloud.com/canaanbalsam

2. Cynthia Zaven – Human Moments In WWIII

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

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

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

http://www.cynthiazaven.com

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

4. Ilaria Boffa – Pollens

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

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

Her work can be found here:

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

https://soundcloud.com/ilaria_boffa

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

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

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

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

6. Kengel Maysonet Baerga – I’m Str8

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

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

7.  Josie Perry – Beautifully Formed

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

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

https://josieperry.com

Bringing people together has never felt more distant. We exist and relate remotely. The oppressive repetition of daily life. The personal and professional. The Conference is an improvised work of electronics and voice produced in a single take in September 2020 for Radiophrenia. 

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

 https://adamkinsey.bandcamp.com/ 

https://soundcloud.com/littoraltransmissions

 

1. Chin Ting Chan – Rituals

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

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

 2.  Boonif – Sicklical

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

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

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

3. Faxen – Firedrake (Radio edit)

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

4. Adam Paroussos – Pools of water (improvisation)

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

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

 adammk25.wixsite.com/adamparoussos

adamparoussos.bandcamp.com/

@bamboo_mustard

5.  Kate Donovan – Raum III

Soundscape of radio signals.

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

https://mattersoftransmission.wordpress.com

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

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

Māpura Music – Pandemic Zoom Class Podcasts: It Come Out Of My Head  (10:11)

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

 http://www.mapurastudios.org.nz/

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

Marja Ahti – Chora from ‘Vegetal Negatives’ LP (10:47)

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

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

transparent-abelard.blogspot.com

https://jeffgburekprojects.bandcamp.com/

https://soundcloud.com/jeff-gburek

Composed and performed by Gregory Whitehead, with Aimée Anders as the Voice of the No Place.

Based on four lines from a poem by Emily Dickinson:
As all the Heavens were a Bell,
And Being, but an Ear,
And I, and Silence, some strange Race,
Wrecked, solitary, here –

1. Kate Donovan – Deep Time Radio

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

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

https://mattersoftransmission.wordpress.com

2. BandaBase – Radio Clásic Española

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

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

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

https://radiorelativa.eu/

https://realnoreal.org/

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

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

4. Dorota Blaszczak – Through Our Windows

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

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

5. Amanda Brannin – Fever statement

A fever-dream broadcast. 

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

https://soundcloud.com/amandabrannin

A live radio broadcast from Bergen, Norway that— through a speaking voice and sound recordings—investigates and speculates in the materiality of air, its ability transport smell and sound, memory and emotion. But also talks about the air in Bergen, as a political loaded domain—an aerial territory. Norway is the only country in the world that has stopped its national radio transmissions on the FM-band, which opens up a list of poetic and political questions: What signals fills the air? Who decides what the air contains? And who has an interest in “cleaning” the air?

I am an artist and writer studying an MA in fine arts in Bergen, Norway with a bachelor degree in electronic music composition. My work explores ephemerality, the ordinary, and hierarchies between what we consider being valuable, and it often takes the shape of radio broadcasts or written publications. My work in sound has been featured on Resonance.fm, Borealis Radio Space and The Lake Radio. I have been working as a radio host and curator at The Lake Radio since 2015.
http://www.williamkudahl.dk/
http://www.instagram.com/williamkudahl/

OOR Scintilla – dialing the moor. moss. impossibl. (11:47)

Nathaneal Jones – Rap Painting 1 (12:07)

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

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

https://soundcloud.com/nathanaeljones/

Magz Hall – Waves of Resistance – Tonnta Friotaíochta (10:54)

Featuring the Voices of Alex Jueno and Máiréad Ni Chroinin.For Galway 2020 on the Island of Inis Oirr

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

Commissioned as part of the Aerial/Sparks project curated by Louise Manifold production: Galway 2020 European Capital of Culture 2020

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

Mark Briggs – Petit Traumas 1: Keys (01:48)

Petit Traumas are fictional narrative testimonies, created from a collection of autofictive prose as therapeutic mechanical processes to provide a tacky clingfilm layer over the tupperwear of greater cosmic disorder.

Mark Briggs is filmmaker, musician, writer and curator working both independently, under the guise of gas-tower.com and as part of the band 2ply with Eothen Stearn.

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

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

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

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

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

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

Play along to the piano.

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

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

http://www.marjaahti.com

While in Bangalore I read books by the many local women writers. When a book mentioned a place I went there, read an excerpt out loud, and sang with the sounds I heard there. This show combines stories, improvised singing,environmental sounds and some of my own experiences. Recorded with binaural microphones on the streets of Bangalore, India.

Readings from:
The Milk Lady of Bangalore by Shoba Narayan
The Red Carpet: Stories by Lavanya Sankaran
Multiple City by Aditi De
Cut Like Wound by Anita Nair

Viv Corringham is a British vocalist and sound artist, based in New York and active since the late 1970s. Her work includes concerts, soundwalks, radioworks and installations. She received an MA in Sonic Art and holds a Certificate to teach Deep Listening. She received two Composer Fellowships through American Composers Forum. Her work has been presented in twenty six countries in venues including Hong Kong Arts Centre, Fonoteca Nacional deMexico, Issue Project Room New York, Onassis Centre Athens, ICA London, Serralves Museum Portugal, Ohrenhoch Berlin and Tempo Reale Florence.

http://www.vivcorringham.org
https://www.thewire.co.uk/audio/tracks/an-audio-introduction-to-viv-corringham

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

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

https://www.swextshops.io

OOR_Scintilla -water talk [NT 78 60]

Siri Black – all dead men on holiday (07:38)

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

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

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

http://www.siriblack.com

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

Rosie Trevill – Clothes Off (8:07)

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

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

rosietrevill.co.uk

Ryan Frame – At The Races

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

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

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

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

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

https://oorscintilla.bandcamp.com/releases

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

https://soundcloud.com/oorscintilla

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

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

Julia Scher_ text, voice Tobias Grewenig_ electronics, processing, video Sebastian Thewes_ electronics, processing, video Dirk Specht_ electronics, treatments, recording.

Electronic textures, processed voices, spoken word. Along an iterative hybridization of communicative fragments, a stimulating, enigmatic network of language / vocal sounds, narration, rhythmic elements and sonic drifting between ambient and noise develops. Feedback loops, self-similarity, symbolic orders and sorting algorithms – destabilization processes and loss of adaptation. Initially planned as an experimental sound art performance for Projektraum Omen (site of the former Cologne-Deutz gas engine factory) – then placeless, ubiquitous, unsited!

Summer 2020. In search of new connections we explore our city and discover their creative and artistic germ cells. With distance. New points on the city map, musical mergers and unheard sound symbioses. Without an audience. Polymer is composed in equal parts of the place, the piece, the creators together.

Aram Khlief_ audio recording and mastering Helene Heuser, Iren Tonoian_ production management.

Polymer is an concert series by ON – Neue Musik Köln based on a call from IV e&k supported by the city Cologne and the Ministry for Culture and Science of the State of North Rhine-Westphalia.

The sphere of the water and the sphere of the wide space of the air and its inhabitants in the glacial valley of the german Elbe river are the sonorous resources of this electroacoustic composition. Just as the inner german border that once separated the area of the Elbe valley has been abolished, the boundaries of the metric division of time and the boundaries of the structured tonal space in “draught” are irrelevant. The wave is an essential principle of the
composition in micro- and macro-form, in horizontal and vertical density: The short wave of the water droplet as well as the wave of the large, slowly moving swell, which steadily and inexorably passes by the person sitting on the shore.

 http://www.cvr-net.de
Clemens von Reusner (b. 1957) is a composer and sound artist based in Germany, whose work is focused on electroacoustic music. He studied musicology and music-education – drums with Abbey Rader and Peter Giger. At the end of the 1980s development of the music software KANDINSKY MUSIC PAINTER. He has been commissioned to compose works for radio and his compositions have received numerous international broadcasts and performances in Americas, Asia, Europe. Invitations to ISCM World New Music Days 2011
Zagreb (Croatia), 2017 Vancouver (Canada) and 2019 Tallinn (Estonia).

The sound collage of the Cambodian documentary filmmaker and DJ Sopheak Sao is based on a live recording from March 2019 of an evening at Meta House Phnom Penh. In collaboration with the German music producers Chris Zippel (‘Genuine’), Jan Mueller (Prof. Kinski) and Meta House founder Nico Mesterharm.

Sao is concerned with the role of women in Cambodian society, from the legendary Apsara dancers depicted on the bas-reliefs of Angkor Wat’s World Heritage Site, the farmers’ wives in the rice fields, the child soldiers of the “Killing Fields” to the modern, courageous businesswoman, mother and activist. Cambodian women of various age groups have their say. Young Khmer artists, bloggers and activists whom Sao Sopheak met in the course of her 10-year career as a filmmaker. Also featured are Cambodian television stars, women from mountain tribes in the north-east of the country and – posthumously – Cambodian rock diva Kak Channthy, who died in a car accident in 2018.

Kak Channthy and Sopheak Sao shared a passion for Cambodian rock’n’roll from the 1960s, which they – like 80% of the total population born after 1979 – know only from audio recordings, tapes or radio broadcasts. Due to the genocide of the Khmer Rouge (1975-79) and three decades of civil war, there is almost no original vinyl left in the country. The songs of “Cambodian Elf” Sin Sisamouth and his contemporaries, most of whom were killed by the Communists, are still reminiscent of the older generation of better times when Cambodia’s King Sihanouk wanted to develop his country into “Switzerland of Southeast Asia” and Cambodian pop culture was very popular throughout the subcontinent.

RE / DISC / OVER tries to explore how the Khmer live today in a way that honours the spirit and music of the “Golden Era”, including audio clips from Sopheak Sao’s films, field recordings, reworked record samples and live scratching.

In cooperation with Medienwerkstatt Wien, Weltmuseum Wien and Meta House Phnom Phen supported by Goethe Institut.

The Cosmic Ascent to Mars Rx was a mystery collaboration done between two pals who ended up reading each other’s minds and making something that sounded like it was planned all along. Siobhain looked to explore feelings of being trapped, both mentally and physically, and imaginary visions of nature. While Rhiannon used metallic tones and extraterrestrial musings to convey the disruption and disordering that comes along with Mars being in Retrograde and its effect on both personal and collective levels.

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

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

The Cult of Connection

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

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

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

1. Teddy Coste – The Pattern artist   

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

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

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

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

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

3. Rebecca Wilcox and Hanna Ellul – Ancient Work

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

https://m.soundcloud.com/wilcoxellul

4. Anette Gellein – Everything is Fucked Up     

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

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

anette.gellein.com 

5. Lin Li – Good Evening, Dada help!  

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

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

6. Peter Hawkey –  Imperfect Constant      

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

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

7. Neil Verma – The Breakfast Ship

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

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

 

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

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

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

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

https://www.jordandykstra.com

 

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

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

https://www.jordandykstra.com