12 Thu

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

Featuring peculiar dialogue, sketches and sound design plundered from across the airwaves, and re-purposed. The clipsare woven together cinematically, with new, otherworldly music, and our ownsonic 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 inBristol. They’ve put out eight releases since 2017, with a growing audience fortheir 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 dramaticscenes. 

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

Soundcloud.com/limbotapes

limbotapes.bandcamp.com

facebook.com/limbotapes

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

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

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

 

 

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

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

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

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

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

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


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


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


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


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


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


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


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


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

Produced by Mobile Radio with support fromπ-node.

 

“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/

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

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

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

http://www.post-global.com

http://www.kanal103.com.mk

1. Elen Huynh & Mark Vernon – Alarm Bells

2.  Misery Bacon – The Plaque Around the Teeth of Reason

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

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

http://lukedrozd.com/

https://bloxhamtapes.bandcamp.com/

3.  Elen Huynh & Mark Vernon – Déchirable voile de l’image

4.  Jan Van Den Dobbelsteen – In MediaRes A-3

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

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

5.  Christian Sancto – Flucht Schutz

Tempelhof airport, built in the centre of Berlin under Nazi direction, has had multiple personalities: fascist monument and refugee shelter; military base and nightclub;aircraft repair shop and public park. This work limns Tempelhof’s charged history in the form of a sound essay for radio. The script is based on original historical research on the airport and my experiences there, both in-person and remote. The layered loops, comprising processed field recordings and samples, simulate Tempelhof’s staggered,conflicting significations (as described in the script): it’s a place of motion and stasis,of gesture and interruption, of flight (Flucht) and shelter (Schutz).

Christian de Mouilpied Sancto is a writer, musician, and artist. He is currently a PhD student in Visual and Cultural Studies at the University of Rochester, New York, where he researches sound, infrastructure, environmental aesthetics, and contemporary art. He has studied music composition at Goldsmiths, University of London and Eastman School of Music, and media studies at Utrecht University.His writings have appeared in numerous peer-reviewed journals, and he has presented his work at academic and art institutions across Europe and North America.

6.  Catriona Shaw – Tee Rocket

Tee-Rocket was conceived for a collective project, an audio hommage to the artist Gustav Metzger, broadcast in2008 on Radio Bayern 2, and curated by Justin Hoffmann. The audio pieces were released as a CD compilation in 2009, “A Tribute to Gustav Metzger”. 

Tee-Rocket deals with Metzger’s favourite topic: autodestruction. I relate a personal anecdote about a second-hand tee-shirt purchased whilst on holiday and its subsequent, baffling demise. Parallel to the story of the tee shirt, vocal layers describe the autodestruct feature of space rockets. Both merge and form something between nursery rhyme, hörspiel and song ’Tee Rocket’.

Catriona Shaw is a scottish artist and musician based in Berlin. Using drawings, text, performance and music,she creates interactive environments which engage audiences throughout the creative process. Most recently she co-conceived the educational project,“We’ll be making lots of Noise” together with Fred Bigot for Gropius Bau inBerlin.

http://www.misslebomb.net

http://www.gooey.de

 7.  Andreas Zaunseder – Diary Of A Key Worker

Do you know how the working life of a key worker is – or rather “sounds” – like?

I work in the warehouse. Working from home is not an option.The workplace is teeming with alertness yet care and solidarity amongst the workers, radio broadcast that features a eye-watering mix of alert news galore,largely a repetitive playlist and efforts to jolly along the people on a daily basis. My (key) workplace has come to be a space of intricate and curious over-exposure of information – and is full of movement.

With this sonic art documentary I seek to capture my experience of this space. A sonic phenomenology.

Heightened risk almost visibly clamours into every social space. As soon as one leaves the house: potential danger lies on every surface,in every social interaction. Against this backdrop of anxiety, social distancing, and in many regards a overwhelmingly uncertain future, the keyworkers of a Glasgow-based food wholesaler bravely keep up the supply of healthy aliments for many people mainly across Scotland.

I cycle to work. 40min one way. Faster, more flexible and less Covid-19-hazards than on public transportation

8.  Hannah Kemp Welch – Vanguard  

This work investigates the ‘vanguard’ of Barrow-in-Furness, looking at the duality of the definition:

1.   a group of people leading the way in new developments or ideas

2.   the foremost part of an advancing army or naval force.

Vanguard class submarines,which are armed with nuclear missiles, are famously built in Barrow. The work attempts to listen to submarines through very low frequency and shortwave radio communications, and through the sentiment of local people towards it. The work asks: how does this homonym reveal values past or present? 

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

sound-art-hannah.com

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

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

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

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

 

 

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

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

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

1. Frazer Merrick – Hidden Sounds Of Coastal Arcades

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

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

 2.Fabian Zuniga – Taco

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

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

3. Johann Diedrick – Twilight

Recorded at Times Square, April 4th 2020 around 7pm. It is impossible to not notice how much more quiet the world has become during this time of global pandemic. With the reduction of human activity outside, the ambient noise floor around us has decreased and our sonic environment is less punctuated by the sounds of human activity (commuting, playing in parks,parties and nightlife) that we often associate with a thriving society. Many have welcomed this transition as a moment to hear more closely to our shared soundscape, as noises once impossible to hear over the loudness are now able to reveal themselves. Others find this silence a grim indication that these times are now ones of stillness, inactivity, and death. For me, I wanted to make field recordings of this moment, described by some as The Sudden Quiet, as a record of how our sonic environment has radically changed during this outbreak,as a way to remember what it was like to live in this time of crisis.

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

4. Jan Van Den Dobbelsteen – In Media ResA-1

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

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

5. Jules Bryant – Endless

Soundscape created using the Volca Bass and 2 guitar effects pedals; the TC Electronic reverb Hall of Fame and the TC Electronic Flashback Delay. Very simple tones with minimal human input, only slight alterations to the Volca to create industrial and almost organic sounds at times. Recorded live in one take, with live effects manipulation and no post production effects.
It should probably be noted that this album was recorded during week 4 of the UK Corona virus lockdown in 2020 and this may have influenced the style and sounds being recorded.

Jules Bryant is a composer and sound artist who works with a wide range of instruments and sound sources. His work could be described as minimalist, using simple structures and effects to draw out and uncover interesting features within. His pieces make use of the quality of instrument sounds and as the composer he seeks to frame them appropriately for presentation to the audience.  http://www.julesbryant.co.uk

6. Julian Brown – Order II Between The Lines

Order II is a study of Space in political language using Sound to deconstruct Parliamentary intercourse. By stripping entire sessions in Parliament of their verbalisations and speech, we reveal the Liminal–Space that occupies and defines the boundaries between thought, word and action. In this movement, Prime Minister’s Questions held on the 25th March 2020 has the content of its speeches removed whilst retaining the gaps in between the rhetoric and discourse. Order II is placed almost exactly one year after Order I which covered Brexit. The difference between the two is stark and reflects national change through forms of silence.

Julian Brown is a Korean British Conceptual Sound Artist working with Sound, Data, and Listening. His work explores relationships in Meaning, Identity and Environment with a focus on Urban and Social Space. He employs an interdisciplinary framework combining Sensory, Data and Urban practice to interrogate how Listening-Processes mediate our understanding of the world and inform, modulate or corrupt maps of meaning within urban and social contexts. His work often addresses issues of Mental Health and Disabiliity working with practitioners from different fields. His work has been featured at The Tate Modern, Tate Britain, and The V&A.  http://www.julianbrown.co.uk

7. Gabriele Hasler – Stimmungslage Ortsbezogen

In autumn 2019 sound artist Gabriele Hasler moved from Hamburg into a small village near the river Elbe. Until the beginning of the long corona break in spring 2020, she often visited the pub named „Willi Schulz“, a women´s regulars table among others. In the ballroom, she found an old piano that had not been tuned for fifteen years, made recordings of it and produced a
soundscape of texts and out of tune sounds. The ambiguous German word „Stimmungslage“ stands for mood as well as for the state of a (de)tuned instrument. „ortsbezogen“ means local.

Gabriele Hasler has performed with several ensembles in Europe, South Asia and North Africa. Her vocal performance can be regarded as a process of exploring the limits of the human voice. She can be heard on 25 CD/LPs and runs a record label of her own called Foolish Music. She just released a new album called „Herden und andere Büschel“ (LAIKA Records).

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

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

 

Stefano Giampetro – Intimate music from somewhen (8:57)

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

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

https://soundcloud.com/stefanogiampietro

Jeff Gburek – animals and loss (8:37)

Mark Briggs – Petit Traumas 2: Middle Finger (01:15)

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.

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

Made in one week on the occasion of Santarcangelo Festival dei Teatri, this piece is about how we imagine the apocalypse in its broadest sense and what we can expect from it.

I just asked a simple question – What’s the first image that comes to your mind if I say the word “apocalypse”? – to strangers and recorded their answers. Many similarities – and a few interesting oppositions – appeared.

Composer with a passion for foreign languages, I like words, microphones, radio and samplers. I try to combine my passion for orality and languages with my passion for sound and audio recording, investigating the gaps between words, meaning, and sound through electroacoustic and radio art works.

https://soundcloud.com/b40t

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

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

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

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

2. Joao Oliveira – La Mer Emeraude

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

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

3.  Discount Gnostic – MR Dagenham’s Little House and Beautiful Garden

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

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

4. Adam Pierce – Recorded Voices of Friends

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

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

https://adampierce.bandcamp.com/

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

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

Alejandro Vargas (alejandrovargas.info) is a multi award winning jazz pianist, who in2001 gained the award of Best Young Cuban Jazz  Musician and in 2008 best jazz cuban record.  In recent years he has been exploring new musicalspaces beyond jazz and collaborating with other music improvisers. Xelís deToro (xelisdetoro.net) is a multiple award winning writer in theGalician language, and a vocal improviser. Among other awards he won best Galician novel of the year in 2001, and his practice incorporate smovement, vocal and  performance work. He sings in the British band chopchop (chopchopsounds.com)

6. Jimmy Peggie – Overcoming Obstacle

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

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

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

http://www.jimmypeggie.com

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

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

Mark Lyken – green above the blades, Part 01 (14:22)

– amplified box w/ found objects, looper pedal, gameboy(s), cassette dictaphone, contact mic, hydrophone. eq, pitch shifter, daffodils, milk bottle, zx spectrum home computer

Mark Lyken is a filmmaker & sound artist based in rural Thornhill, S.W Scotland

Ben Owen – Jonathan and Maggie (6:21)

An audio-tapestry, bringing together the voices of a curator of ancientinstruments and a virtuoso vocal improviser. Jonathan taps wood and notices howage and climate are expressed in the tone and warmth of a musical note.Maggie’s instrument is her own body and that body lives, experiences, andevolves in time. What is ageing? Can you learn how to listen to time?

Benjamin Owen is an artist workingwith film, music, performance, and installation. A celebration of participation, improvisation, and collaboration are at the heart of Benjamin’s practice. His work often uses live soundtracking to reframe and unsettle the relationships between film, sound, ageing, and the body.

Mark Briggs – Petit Traumas 3: Spillage (03:16)

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.

Overwhelming Waves is an essay in radio signal and radio noise. It is a collage of short wave radio captures recorded by Jeff Gburek at various locations, some spanning 25years, 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 invitedhim 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 artevents. 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

The piece emerged out of exchanges and reflections during lockdown times. It is a collage of field recordings, audio messages, as well as work with modular equipment and tape delay.

http://www.passiveactivism.net

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

The work was produced on residency at Rupert (Lithuania) withsupport from the Mondriaan Fonds. It combines field recordings with original musical compositions by Kareem Lotfy and Jacob Oostra.

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

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

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

https://www.rosieroberts.tv/

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

 

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

John Wilde – I Belong (8:00)
Inspiredby the music hall standard, I Belong asks all sorts of people from Glasgow andthe Rest of the World to say where they feel they belong. Mixed with street and other sounds recorded in Glasgow. Created by John Wilde.

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

Boonif – Sicklical

Ivor Kallin – Sangs of Bute, Eh? R09_0130

Cynthia Zaven – Human Moments

Gabriel Furzumachi – Alma’s Orange

Alison Carlier and Amanda Loomes – Disorder

Vicente MascarosLanga Confinement

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

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

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

Mark: Edit, text, mix, processing

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

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

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

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

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

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

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

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

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

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

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

colección de intercesión

001 ZOLOFT fromnonmajestic˜˜˜existential∞theism

002 Fronton from Magical Realism

003 Disentral from Spont

004 tongue from subversive

005 DasKopp from Distance Music

 all works from original albumson bandcamp

https://shaunrobert.bandcamp.com

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

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

A Sonic Organic

Nerve Theory (Tom Sherman & Bernhard Loibner) present their new collaborative piece: “Electric Cars and Electric Guitars” was originally created as a multi-channel-installation for TONSPUR passage at Vienna’s MuseumsQuartier. It is a sonic trip into a nearby future, where cars are navigated by autonomous artificial intelligence agents and the physical aspect of being transported from one point to another becomes radically different to now.For Kunstradio, Nerve Theory have produced an extended radio version in stereo.

“Their new work is an audio installation composed by Loibner for an 8-channel setup that centers around the script and narration of Sherman. The eponymous «electric guitars» are the first sounds we hear in this piece, and they do sound like dust and dirt, as Loibner apparently borrowed heavily from desert rock aesthetics. As the first chords strum along, Sherman’s voice laconically introduces the piece. “Listen: Electric Cars and Electric Guitars.” And inevitably an image is evoked: one of a desert landscape, stretching left and right for kilometers; us sitting in a car; Sherman on the steering wheel, telling us about the journey we’re about to undertake; us gazing out of the window while barren shrubbery and rocky peaks pass in the distance as we race down a straight highway. Loibner paints the landscape, Sherman drives us through.” (excerpt from a text by Clemens Hausch)


https://loibner.cc/wp/nervetheory/
 

here’s a cosmic description of Mauve Zone by Matt Valentine:

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

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

Released by the Nashazphone label.

https://soundcloud.com/lg2-3

https://lachimie.bandcamp.com/

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

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

 

Erotomania is a radio series centred on experimentation with the voice and its intimacies.
Engaging field recordings, ambience, midi and poetry, it celebrates the voice as one
juncture of the intimacy developed between sound & our bodies.

T. Person is a poet and editor living in Glasgow. They edit —algia magazine and co-edit
Orange Apple press.

https://person.cargo.site

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

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

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

2. Bedlam Suitcase – The Answer to Nothing                  

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

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

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

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

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

 https://twitter.com/bedlamsuitcase

3. Martha Riva Palacio – An Atom Journey through Ether 

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

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

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

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

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

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

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

5. MISC –  Exquisite Corpse      

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

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

 6. Shaun Robert – Emotional Perception

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

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

A Sonic Organic

https://shaunrobert.bandcamp.com

 

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

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

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

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

dani–gal.com

 

 

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

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

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

http://www.strangesavagelives.net

 

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

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

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

http://www.strangesavagelives.net