Fri 18

“Before it all seemed so simple, things cast shadows. But now it turned out that shadows cast things, or perhaps things didn’t exist at all”
Peripheral Visions, as the shadows start to lengthen we turn our minds to the place where the street lights end. Out here on the periphery, flickering visions and half heard noises scuff our logic with their insistent truancy. Fragments of things unbound by our narrow grasping.

“On cold winter nights we would occasionally perceive a strange glimmering of lights, a marked pulsating luminosity in the very edges of our vision accompanied by a vibrant oscillating frequency of sound, taking in certain cases, the form of bright circular waves, which seem to move from the periphery towards the centre, but if we tried to look directly at them to see them more clearly they evaded us, seeming to drift and fade, dissipating like so much smoke."

Artist bio:
The Spectral Transmissions Research Unit is a collaboration between Ben Branagan Luke Pendrell dedicated to the theoretical and practical construction, dissemination, transmission, observation and analysis of spectral emanations.  Comprising a diverse spectrum of entities of various degrees of stability and tangibility. In as much as linear time can be applied, members of the STRU could, have, and or will include(d): Ludd Püca, JohnFrum, Kay Jackson, T-J.Cut, Dr. Ray Power, Proff. Jock Moxter, EKA-Francium, Dr. Tinkerpaw, Kaspar Brøcken, and The Coincidence Sprite.

Website/social links
https://extra.resonance.fm/series/gravity-waves
https://outlands.network/members/the-spectral-transmissions-broadcast-monitoring-research-unit/
https://www.instagram.com/lukependrell/
https://www.instagram.com/the_joyful_cut/

An exploration of aesthetic beauty treatments and the relationship we have with our bodies and appearance.

The piece looks at the fragility of the human condition both physical and mental and what forms our interpretation of beauty. The role of social media and the exploitation of people in areas of low income and low self esteem. Considering the ageing process and the passing of time which writes itself all over our bodies and taking a sympathetic view of the minute details of our appearance that we obsess over.

The piece is composed using fragments of music from Brahms, Holst, Bruckner, Korsakov, Smetana and Chopin, each fragment chosen using a random number generator to enable the piece to be ultimately programmed so each iteration can be unique, reflecting the individualistic theme of the work.


Artist bio:
Orchestral music created using cut-ups from public domain classical pieces, covering subjects from left behind former mining communities.

Wilkinson’s music was part of Michael Begg’s award winning “Be Mine in Patience”.
His pieces have been played on NTS, Resonance FM, BBC and released on TUSK, Industrial Coast, Wormhole World and others.

This year he has performed his pieces alongside Flora Yin Wong, Aja (Ireland), Abigail Toll and Matekoi around the country.

A number of his audio visual pieces have been displayed in art galleries with two solo gallery exhibitions for the piece BOTOX/COLLAGEN/SILICONE.

Website/social links
https://www.instagram.com/garywilkinsonmusic/
https://www.garywilkinson.net

Giving forth or marked by a moaning or sighing sound or musical tone produced by or as if by the wind.

'Moaning and sighing toward Aeolus' is a new work for strings and wind harp by Soft Noise Ensemble, commissioned by String Attached / NyMusikk Bergen. This recording is a live recording taken at the Strings Attached festival at Landmark, Bergen, April 2024.

Artist bio:
Soft Noise Ensemble (S.N.E.) are a Norway-based experimental trio operating somewhere at the junction of jazz, free-improv and (soft) noise, comprised of artists and musicians Eline Rafteseth, Omar Johnsen and Luke Drozd.

Website/social links
https://softnoiseensemble.bandcamp.com/
@softnoiseensemble on Instagram

This piece was composed by sending Tartinis Devil's Trill Sonata through a micro delay plugin, I developed during my master's in Sound Design in Scotland. The plugin takes in the input audio and then splits it into 20 different buffers, uniquely processes each buffer and then joins them back together creating a sonic mosaic of the original piece.

The title Stream of Consciousness mirrors the intensity and flow of a frightening or impactful dream with the aim to reimagine Tartini's journey to deconstruct the dream that inspired him to compose the original Sonata in G Minor.
 
My favourite moment in this piece takes place at duration 8:30 when the evolving feedback loop gets cut off and then brought back in with only certain highlighted fragments. Similarly at 14:00.

Artist bio:
Sound Designer and Developer with a background in Electronics Engineering. My goal is to bridge the gap between embedded technology and audio production, fostering a deeper physical connection in how we, as artists and sound designers, create music and sound. By combining the realms of analog, digital, and AI-driven technology, I aim to innovate and expand the possibilities within the audio production landscape.

Website/social links
https://yashiquechalil.com/
https://soundcloud.com/yash-que-chalil

THLEEP is an ongoing sound and light project exploring the therapeutic potential of neuro-acoustics and vision physiology to reduce anxiety and improve sleep. Initially developed as live performances involving large-scale LED screens and projections, in 2023 we began developing a series of audio-only works intended for listening via radio. These pieces blend natural and ambient sounds, offering experimental audio experiences that explore how sound can passively shape mental and emotional states. Integral to the approach is the subversion of perceived stereotypes of meditative sounds; by using more everyday and mechanical environmental sounds to produce rhythmic lulls, and gradual bpm and volume declines and inclines to create passages of tension and release, we induce states often associated with more stereotypical meditative 'music'.

THLEEP present 6 pieces for broadcast that utilise the inherent psychological safety and comfort of the radio format to offer a restorative and experiential program for the audience.

Artist bio:
THLEEP; Therapising For Sleep; a series of sound and light investigations; combined as a synaesthesia to reduce anxiety and promote healthier sleep cycles. The works are developed by a collective of artists, with Damian Rayne & Amit Rai Sharma being continuous members across the project.

Damian Rayne is a UK based professional focussing on arts practice and promotion, culture and community.
Amit Rai Sharma is global majority soundartist with a background in applied audio psychology - based between the UK and Taiwan.

Individually and collectively their work and performances have been exhibited in UK, Europe, and Asia.


Website/social links
Project website - https://thleep.earth
Thleep at Trellick 50 in 2022 - https://youtu.be/WE4ySQvUG6I?si=y72ueXZ5qOGFmz76
Synaesthesia session (lockdown session) - https://youtu.be/_8hS8wt2xYc?si=GVPpX1KXi4Q01LCj

Artists
Damian Rayne IG - https://www.instagram.com/deetzschk
Amit Rai Sharma artist website - https://www.amitrsharma.com

The two ‘sister’ sound works we are proposing to present are one outcome of the Echo/Ekho project. When New Zealand’s border closures prevented sisters, Dinah and Molly Mullen, from meeting in person, they began an online exchange, resulting in a cyber-feminist reworking of the myth of Echo. In the male-authored myths, Echo is depicted as being punished, deprived of her communicative agency; absorbed into the earth she must forever return the sound made by others. These sonic fictions explore the possibilities and politics of online communication, exploring the generative potential of echoes as intimate entanglements of sound and stone that are essential to processes of sensing, locating and relating. Picking up where the Greek and Roman myth-versions leave Echo, the two audio tales suggest she has long inhabited the rock beneath the earth’s surface, causing earthquakes, volcanoes and provoking continental shift in her grief, trauma and rage.

Artist bio:
Dinah is an experienced sound designer who creates works that explore our relationship to place, environment and each other. She makes works for both live and digital formats including: guided audio walks (Just Passing Through), immersive smartphone adventures (for the National Archives with Coney), podcasts (Afterthoughts, beyond arts), audio drama/essay (The You Play 1 & 2, for 45 North), Audio Installation (The last Taboo of Motherhood, for FUEL), and performance installation (FORGE, with Rachel Mars). With Fire and Rage, an interactive audio walk Dinah designed for Artists on the Frontline at EuroFestival Liverpool, won The Stage Digital Award 2023.

Website/social links
https://www.dinahmullen.com/echo
https://profiles.auckland.ac.nz/m-mullen

The two ‘sister’ sound works we are proposing to present are one outcome of the Echo/Ekho project. When New Zealand’s border closures prevented sisters, Dinah and Molly Mullen, from meeting in person, they began an online exchange, resulting in a cyber-feminist reworking of the myth of Echo. In the male-authored myths, Echo is depicted as being punished, deprived of her communicative agency; absorbed into the earth she must forever return the sound made by others. These sonic fictions explore the possibilities and politics of online communication, exploring the generative potential of echoes as intimate entanglements of sound and stone that are essential to processes of sensing, locating and relating. Picking up where the Greek and Roman myth-versions leave Echo, the two audio tales suggest she has long inhabited the rock beneath the earth’s surface, causing earthquakes, volcanoes and provoking continental shift in her grief, trauma and rage.

Artist bio:
Dinah is an experienced sound designer who creates works that explore our relationship to place, environment and each other. She makes works for both live and digital formats including: guided audio walks (Just Passing Through), immersive smartphone adventures (for the National Archives with Coney), podcasts (Afterthoughts, beyond arts), audio drama/essay (The You Play 1 & 2, for 45 North), Audio Installation (The last Taboo of Motherhood, for FUEL), and performance installation (FORGE, with Rachel Mars). With Fire and Rage, an interactive audio walk Dinah designed for Artists on the Frontline at EuroFestival Liverpool, won The Stage Digital Award 2023.

Website/social links
https://www.dinahmullen.com/echo
https://profiles.auckland.ac.nz/m-mullen

This episode features a conversation with Dan Tapper about his interest in VLF. VLF is Very low Frequency Radio or what is often referred to as Natural radio because it makes audible to human ears the electromagnetic waves that encircle the earth. Dan Tapper is a British sound artist based in Toronto and in the second half of the show we will play his radio piece about VLF called "Some Call it Noise". In the interview Dan referenced a documentary about VLF called "Sun Song" that was made by Patrick Sykes. Click Here to listen to "Sun Song."

This monthly one hour program is about radio art and sound art, and is produced by New Adventures in Sound Art's Artistic Director Darren Copeland in South River, Ontario, Canada. The show features Canadian, US, and international artists creating sound-based media art. It focuses on the techniques, processes and motivations of the artists it features as well as individuals supporting the field through dissemination and curatorial activities. The show is a snapshot of what is happening in sound-based media art in the here and now from a northern perspective. 
 
Produced by Darren Copeland.
 
https://naisa.ca/

Nathan and Carlos discuss the activation of different bodies of knowledge and efforts of riverine conservation involved in the process of River Breathing.

River Breathing is an immersive sound installation in which the audience can experience the breathing of the rivers Ebro, Segre and other affluents as a symphony composed of the life cycles of the various species that participate in the pulse of the river.

The protagonists of the installation are a choir of naiads, or freshwater clams, which are endangered throughout the Iberian Peninsula but especially in Catalonia and Aragon due to the relentless denaturing of their habitats ,the threat of several invasive (let's call them vigorous!)  species,  and increasing levels of river pollution.

This choir embodies and gives voice to the river, as the mythological Naiads -spirits of fountains and rivers in ancient Greece- once did.

The work transforms scientific models of the metabolism of the Ebro river and its affluents based on historical and real-time data available through sensors and remote sensing systems into multi-channel sound in collaboration with musicians and the help of computer scientists from the UdL (university of Lleida) and biologists from IRTA (Catalunya) and IPE (Aragón).

A series of metabolic scores are produced from the data to be interpreted by musicians , the final composition is completed with underwater recordings of the clams in their conservation tanks.
The installation consists of a sculptural sound system made in ceramics and other materials designed in collaboration with sound engineers.
A lighting scheme completes the installation.
 
One of the project’s aims is to make known the complexity of the life of rivers and the delicate nature of maintaining their balance as a way of establishing a relationship of proximity with them and forming emotional bonds of care and responsibility with riparian ecosystems.

Collaborators:
Scientific advisor Rosa Maria Gil
River ecology: Enrique Navarro and Francisco Comín
Clam conservation work: Keiko Nakamura
Sound composition and lighting: w/ Santiago Latorre
Castanets: Miguel Ángel Berna

-

Carlos Monleon works with a variety of processes and materials, both living and non-living, that result in sculptural and participatory artworks.These span across different levels of bodily sensation and awareness; from the microbiological to the performative and social bodies. His main line of work traces evolutionary processes that stem from digestion and cognition and result in the distribution of biological processes across multi-species entanglements and cybernetic metabolisms.

Carlos has developed collaborative projects at spaces such as Autoitalia, Seventeen Gallery and Diaspore Project Space, London, Cráter Invertido, Mexico, Hangar, Lisbon as well as institutions  such as CA2M, and Matadero, Madrid, HIAP Helsinki, and has shown his individual practice at LUMA Arles, Z33, Istanbul Design Biennial, Porto Design Biennial or the Tallin Biennial amongst others.
 https://carlosmonleon.com/riverbreathing


Nathaniel Mann (born 1982) is an experimental composer, performer and sound designer. Oscillating between music and sound, Mann has a compositional practice that is expansive in scope and varied in form. He takes on many roles in his work, including researcher, instrument-maker, archive-digger, surround-sound designer, filmmaker, broadcaster, storyteller, producer, curator, entrepreneur, sonic-artist and folksinger. He is also one third of the experimental folk ensemble, Dead Rat Orchestra.

Mann’s compositions probe history, politics and audio culture, resisting established formats and frameworks for creating music. Each work is crafted, adapted and nuanced towards its setting, fuelled by continued dialogue and collaboration with professionals and enthusiasts from varied fields. These have included filmmakers, musicians, visual artists, academics, curators, a pigeon fancier and a swordsmith.

Mann has explored many subjects including the colonial residue of recorded music in South Africa, in dialogue with Andile Vellum, a deaf dancer/choreographer based in Cape Town (Cape Sound Stories, 2016); the psycho-geographic horror of England’s public execution sites (Tyburnia, 2014-17); and the deeply rooted traditions interlinking noise and social control, creating bronze musical meat cleavers with swordsmith Neil Burridge (Rough Music, 2014). He was awarded the Paul Hamlyn Award 2019, Arts Foundation Fellow 2018 and his work Pigeon Whistles (2013), a flying orchestra of flute-carrying Birmingham Roller pigeons, won the George Butterworth Prize for Composition in 2015.

The Maunsell Forts were constructed in the Thames and Mersey estuaries during the Second World War. Their imposing and somewhat alien shape – tall platforms balancing atop legs jutting out from the sea – is reminiscent of the Martian Tripods from “The War of the Worlds”. Following their decommission, in the 1950s, some of the forts were squatted and used for broadcasting pirate radio. One even became a micronation called The Principality of Sealand. This recording documents a family trip to Whitstable, Kent. You can hear the family exploring the town, beachfront and harbour before boarding the Vulcan and setting out on a boat trip to the forts at Red Sands. The recording is part of the Radiophonic Travel Agency, a series that allows anyone from across the world to visit unusual and sometimes impossible locations.

Artist bio:
Ilia Rogatchevski is an audio producer, music writer and artist working at the intersections of sound, performance and visual media. His work as a solo artist, and as part of the duo Mute Frequencies, has been exhibited at various venues in the UK and performed at festivals such as Radio Revolten, Dronica, Splice, Supernormal, Open House and End of the Road. His compositions often investigate inaudible frequencies of the audio spectrum, the potential of electromagnetic waves to convey information and ideas relating to imperceptibility.

Website/social links
https://radiophonictravel.agency/
https://www.instagram.com/radiophonictravelagency/
https://www.instagram.com/radiophonicinstitute/
https://www.instagram.com/iliarogatchevski
https://iliarogatchevski.com/

1 Home Secretary - piano and tape (3:46)
2 Heidi Hörsturz – Simulation (11:56)
3 Vincent Eoppolo - Omaggio a David Shapiro (6:08)
4 Andreas Oskar Hirsch - Teaoism International (3:00)
5 Mary Hooper – Funghilious (6:00)
 
 
1) Home Secretary - piano and tape

From the LP Past Lilly’s
https://homesec.bandcamp.com/album/past-lilys
https://cardboardclub.bandcamp.com/album/stamen-and-pistil-are-husband-and-wife

 
2) Heidi Hörsturz – Simulation

VERVE

Heidi Hörsturz works in a wide range of computer animations, audiovisual performances, soundart and multimedia installations. Her works examine the influence of new technologies and the social questions that have arisen as a result of digital development. After completing her studies at the ArtEZ University of the Arts in the Netherlands she presented her work worlwide at festivals and venues like ICA London, Moscow Multimedia Art Museum, Gaida festival LT, Göteborg Art Sounds, IEM Graz, FILE Sao Paulo, Sonic Matter CH, Madatac Madrid and V2 Rotterdam.
https://www.heidihoersturz.com/

 
3) Vincent Eoppolo - Omaggio a David Shapiro

Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world.

Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America
https://www.facebook.com/profile.php?id=100007788824642
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw

 
4) Andreas Oskar Hirsch - Teaoism International

Part of Hirsch’s new album The Salamander Treaty, out on makiphon in spring 2025. The album title makes reference  to ‚War with the Newts‘, an abysmal yet hilarious science fiction novel by Karel Čapek from 1936. The album is a sort of pacifist replica to this, with claims like Tea Time Unlimited and such. The album title and some of the track titles invite to play around with the phonetics and the meaning of the terms „treaty“, „tree“ and „tea“.

Andreas Oskar Hirsch is a Cologne based musician, visual artist and inventor of electroacoustic instruments. Together with Patricia Koellges he runs makiphon, a label for experimental music and artist records.
http://www.hirschonhirsch.com
http://www.makiphon.de

 
5) Mary Hooper – Funghilious

A series of 4 short tracks made for an installation by Radiator Arts Hastings about the wonder of Funghi and the world of Mycellium for 'A Curious Town Dreams' Family Festival In Hastings 2024
The tracks are composed from voices of the artists and my recordings of moss and trees and water.

Short Bio: My arts practice is site-specific, using of a wide range of materials and processes to create installations, objects, and sound-works. I often collaborate with artists from different disciplines, writers and musicians, incorporating research into the narratives of place, people, the patina of human occupation, and the geographical impact of the location on the way we live. I work to commission or developing self-initiated projects developing ideas through research and working with the community to generate the content and material for the artwork. COmposing sound pieces is my main practice focusing on stories of people and place.
https://on.soundcloud.com/iQvSQLkXDLkQJn7D9
https://soundcloud.com/last-station
https://www.instagram.com/ma.hooper1/

6 Sam C. Shin - Imagined Spaces (5:00)
7 Adrian Laugsch - Spasms Of My Aching Heart (8:25)
8 Adrienne Murray - The Weight of Distance (5:40)
9 Fil Corbitt - Stovepipe Windharp Summons the Frogs (2:54)
10 Deborah Shaw (Aurora Engine) – Tintinnabulation (3:36)
 
 
6) Sam C. Shin - Imagined Spaces

Mixed and virtual realities are growing in sophistication and accessibility, with corporations and consumers spending billions on this technology. “Imagined Spaces” uses field recordings of natural and mechanical sounds from everyday life—such as birds chirping and motorcycle engines—alongside spatialized audio signal processing techniques commonly found in virtual reality that simulate a sound’s distance, width, and direction. The combination of real-world sounds with spatialization techniques and audio manipulation explores the tension between superficiality and immersion and simulacrum and reality in experiences that mimic or “extend” reality.

Sam C. Shin is a southern California-based audiovisual composer and researcher whose work explores the impact of technology through the lens of Korean studies and experimental electronic music. His work has been presented at festivals and conferences such as the International Computer Music Conference, the International Conference on New Music Concepts, and the SEAMUS National Conference. Sam is currently a Ph.D. candidate in Digital Composition at UC Riverside where he studies with Ian Dicke, Dana Kaufman, and Paulo Chagas. Sam has an M.M. from Bowling Green State University and a B.A. in music and East Asian studies from Brandeis University.
https://www.samcshin.com/

 
7) Adrian Laugsch - Spasms Of My Aching Heart

"Spasms of My Aching Heart" unfolds somewhere between a kitschy concept album and an AI-generated opera. Consisting of five originally AI-generated (but heavily revised) songs, the album delves deeply into the potential of technology in dialogue with trauma, kitsch, and pathos, striving to create a form of post-digital emotionality and artificial opulence. Shaped by kitsch theory, queer camp, and the aesthetics of Schlager music, the songs embrace their (over)expressivity with seriousness while remaining fully aware of their own absurdness.

Adrian Laugsch (*1997) is a german-polish composer/performer/soundartist.
Based on his musical interest in historical, (auto)biographical, and nostalgic sounds, his compositional work is significantly shaped by the desire for the substantive expansion of the sonic through theatrical, interdisciplinary, and multimedia strategies.
This may range from extra-musical concepts and narrative arcs to the explicit use of stage and video, intertwining traditional formats such as concert, radio play, album, music theater, and installation.
Consequently, his thematic focus lies on queer, hybrid, non-normative, and transgressive identities, as well as the exploration of post-digital artificiality and meta-religious opulence in the staging of socio-political mechanisms.
https://www.adrianlaugsch.com

 
8) Adrienne Murray - The Weight of Distance

‘The Weight of Distance’ was made for an installation which combined both sculpture and sound. The sculpture was first conceived of on a train journey, looking out through the window as the landscape passed by and noticing the sight of a disconnected telephone pole. In the resulting work the telephone pole acts as an intersection between the connective tactility of the glass, steel, and wooden vessels which are displayed. The track was made with recorded sounds from these three objects, as well as hydrophone recordings of water sounds contained within them, and a melody made with a kalimba. The intentions of the work were to explore the acoustic qualities of the materials included and to reflect upon an everyday poetry which can only be experienced through the senses as opposed to sensory disconnect.

Adrienne Murray is a recent art graduate whose focus is on social, spatial and ecological experiences of disconnect. These interests are informed by life within the digital age, and questions of how we experience the space in-between immaterial forces and the tactile within everyday life. Adrienne is a recipient of the RSA New Contemporaries 2025, and a shortlisted artist for the Visual Arts Scotland Graduate Showcase Award. Within her sound work she makes use of sounds from everyday objects and ambient noise, and is interested in the connective potential of sound as a means of evidencing movement and tactility.
https://www.instagram.com/adriennemurrayart/


9) Fil Corbitt - Stovepipe Windharp Summons the Frogs

A house fire leaves a pile of rubble. Among the rubble, a
stovepipe. Using scraps and nylon string, the stovepipe
becomes a wind harp, with which to filter the sound of the
smokey air, months later, during the worst wildfire season in
recorded history. That year, the heavy winter leaves shelves
of snow and ice on the alpine pond, unnamed on the maps.
As it recedes, the frogs emerge in spring. Using a binaural
microphone and a pair of hiking boots, I am able to record
their communications from the edge of the lake, which will
months later, be enveloped in the heaviest wildfire smoke in
recorded history.

Fil Corbitt (they/them) is a radiomaker working in the Sierra Nevada outside Reno, Nevada, USA. They
make a podcast called The Wind from a handmade desk in the mountains.
http://www.thewind.org
https://instagram.com/thewind_org
https://tiktok.com/@thewind_podcast
https://www.youtube.com/@thewind_podcast

 
10) Deborah Shaw (Aurora Engine) – Tintinnabulation

'Tintinnabulation' Comissioned in 2023 by Historic Scotland / One Ren Council to create a a series of sonic responses surrounding the  installation of the newly restored Carillon in Paisley Town Hall. ‘Tintinnabulation’ is a sonic work made from sounds collected in the clock tower. Using mallets, hands, voice to the artist harvests sounds from 10 clock bells, iniitally unstalled in 1875, reflecting on Paisley  Town's past and present, using technology to record its sonic landcape in 2023. This was showcased during the opening season of the Town Hall, whenre listeners could access via headphones.  This was part of a wider commission engaging the community in composing new ‘chimes’ for the new Carillon.

Deborah Shaw / Aurora Engine is a songwriter, composer and sonic artist from Edinburgh. Fusing real instruments (harp /piano), voice and progressive electronica, her work encapsulates a singular and striking sonic landscape. As a sonic artist she thrives on telling stories through sounds, engaging communities, whilst engaging with environmental issues. Recent works include a sonic exploration of Tourette's Syndrome funded by SMHAF, and an exploration a commission from Historic Scotland, capturing the historic sounds of the Paisley's Carillon. She is committed to amplifying the voices of women in sound and has engaged on a series of women focused sound projects.
http://www.auroraengine.com
http://www.instagram.com/aurora_engine
http://www.twitter.com/auroraengine
http://www.facebook.com/auroraengine

The Glasgow underground is a simple circular, concentric route travelling in both directions. The Inner Circle or the Outer Circle are the only choices - and if you plumped for the wrong one it takes only 24 minutes to do a complete circuit. Although at times incredibly noisy (you sometimes leave the train feeling mildly traumatised by the sound) the subway is undeniably one of Glasgow’s best-known and most familiar soundmarks. A Loop Within a Loop re-imagines the sounds of the subway network in an exploration of circularity, repetition and looped systems. Featuring field recordings made on the underground and interviews with former train drivers - voices and sounds, loop and repeat, come and go, ebb and flow - evoking the sensations of the subway - the rhythms, sounds and smells, the motion of the train, the grinding repetition experienced by the drivers, the impenetrable darkness and the light at the end of the tunnel.

Artist bio:
Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.
 
http://meagreresource.com

"Viatge cap al buit" (Journey to the Void) offers the listener a slow and transformative excursion through a series of landscapes where the real blends with the surreal and the impossible. The journey begins in darkness, with a screen of noise that evokes the sound of a plane landing, gradually transforming into water. A succession of environments follows, sometimes diurnal, sometimes nocturnal, where sounds detach from the landscape and embark on their own journey, ever-changing. The void refers to the intangible, the non-material that exists beyond our world. Through sound processing, this unreal otherworldly realm comes into contact with ours; the different elements that make up the scene wander between their boundaries: we hear supernatural echoes from the other side, and as they approach us, we discover a person walking. They sit down. The image they contemplate evaporates...

Artist bio:
Francesc Llompart's initial production is instrumental, but gradually he delves into electroacoustic music for acousmonium and mixed music. Subsequently, he explores free improvisation as a violinist and collaborates with other improvisers, combining composition with elements of conducted improvisation, indeterminacy, and graphic scores. His music has been programmed at festivals around the world such as "Mixtur" (Barcelona), "New York City Electroacoustic Music Festival" (New York), "OUA Electroacoustic Music Festival" (Osaka), "MUSLAB" (Mexico), and "Klangraum Festival" (Stuttgart).

Website/social links
http://www.francescllompart.com

Join writer Melissa McCarthy here in the dug-out as she brings you the sports reports, the match updates, and the game theory.
Dr Jekyll 4, Mr Hyde 1; War 5, Peace nil; Antony 3, Cleopatra 3. Walrus 7, Carpenter 2. For all the latest scores, the transference news, and the analysis, tune in to this three-part investigation into writing, listening, literature, and sport.
Upcoming fixtures: Tom versus Captain Najork; the Harvards versus the Yales; God versus Satan. Who will win?


Artist bio:

Melissa McCarthy’s books include Sharks, Death, Surfers: An Illustrated Companion (Sternberg, 2019), on the balance between who’s moving over the face of the water and what’s lurking underneath; Photo, Phyto, Proto, Nitro (Sagging Meniscus, 2023), which considers flowers, photography, and explosions; and Exceptional Subjects, a collaboration with photographer Norman McBeath (Easel Press, 2024), on cameras, space exploration, and the persistence of voice and image.
She’s a contributing editor at Exacting Clam magazine, writing on topics ranging from translation to typewriters, orcas to authors, football to photography.


 
http://sharksillustrated.org

instagram: mccarthysharks

A pressing immersive radiophonic journey sharing the personal accounts of those living next to Walley’s Quarry a Landfill in Newcastle-Under-Lyme, run by Red Industries who breached its permit over 111 times and caught fire this summer.

After over a decade of complaints from local people and members of action group Stop the Stink, Walley’s Quarry legacy will live on. Unfortunately, it’s the tip of the iceberg of a national scandal caused by current legislation, regulation and management of landfill in the UK and with that the legacy of air and water pollution left behind.
 
In Oct 2024 it was found emissions of hydrogen sulphide emitted from the site had been under recorded by the EA between 2016 and 2023, in Oct 2024.  Newcastle-under-Lyme Borough Council took legal action against the firm and finally the EA took action to close the site in Dec 2024, however the stench continues as they cap it off and deal with the mess.

The artist Magz Hall became aware of a growing national scandal after experiencing the stench from Shelford landfill Canterbury during lockdown, it led me to research this site and others which she plans to document in the future. She hopes the work will give a voice to some of the many people and communities directly affected by landfills built far too close to homes and allow the audience to experience what it’s like to be gassed in your home on a daily basis.

Thanks to the community of Newcastle-Under-Lyme and Stop the Stink for contributing.
New research shows landfill leachate treatment, which is the water cleaning process at such sites is creating and increasing banned PFAS chemicals substances into UK water table,  all hugely concerning.

The work also features geranium plants from the artists radio air garden project, inspired by landfill air pollution as they are great absorbers of pollution.  This is stereo mix of the work which was initially made as 16 speaker immersive radiophonic doc for the WinterSounds Festival and is being shared across platforms.

Artist Producer Magz Hall
Music Mieko Shimizu
Supported by Screen South and Arts Council England

Artist bio:
Magz Hall is a UK sound and radio artist born in Keynsham Somerset, she is concerned with art the art for the environment, expanded radio, expanded sculpture, with a focus on wireless technology across the spectrum. She been developing a series of expanded sound art works around air pollution for her Radio Air Garden Project. She was awarded an Oram Award in 2021 and nominated for an Ivor Novello in Sound Art for Waves of Resistance also aired on Radiophrenia for Galway 2020. Tree Radio at The Yorkshire Sculpture Park was nominated for a BASCA in sound art.

Website/social links
https://magzhall.com/
https://www.instagram.com/hallmagz/
https://www.instagram.com/radioairgarden_/
https://www.facebook.com/magzz.hall/
https://www.facebook.com/radioarts.org.uk
https://x.com/expandedradio

In November 2024, sound artist and musician SHHE travelled to Porto Alegre in Brazil for a month-long residency with Kino Beat Festival. In May 2024, the river broke its banks, contributing to the worst flooding that Brazil has experienced in 80 years, impacting 2.3 million people and displacing 600,000 across Porto Alegre and the surrounding regions. What does it mean to live on the margins of such a powerful water body? Combining field recordings, testimonials and experiences shared through a multitude of voices - human and nonhuman – the sound work resonates around the question, Como é o som do Guaíba? Artist bio: SHHE is a Scottish-Portuguese sound artist, musician and producer based in Dundee, Scotland. Her work explores themes of identity and connection at the intersection of sound and space, environment and ecology, and research and performance. Sound works, performances and installations have been presented at V&A Dundee co-commissioned by MSCTY Tokyo, Sonica Glasgow, Dundee Contemporary Arts, Edinburgh Festival, Celtic Connections, Radiophrenia (Scotland) and in Portugal, Iceland, Italy, Egypt, Brazil, and Iraq-Kurdistan. http://www.shhemusic.com @shhemusic (instagram and X)

1) Johnny Dixon - Daily Bread  4 (5:00)
2) Ecka Mordecai - Show up or shut up (2:48)
3) iT - Irena Tomažin - intro- the crying game (2:13)
4) Frontera Glaciar - Meditar (5:04)
5) Niko-Matti Ahti - Kaivajaiset Part 1.2 (6:46)

1) Johnny Dixon - Daily Bread  4
 
Using small white single-use plastic items from everyday foodstuffs visual scores have been created on a black background. A vocal sound palette is suggested and in the six five minute sound pieces used for four voices to render the plastic pieces as imagined fragments of letters of the Roman alphabet. The scores can be viewed and listeners are invited to soundalong with the pieces by using the palette and following some basic suggested instructions - or by using their own sounds. The scores and the palette can be read here https://daily-bread-rp2025.blogspot.com/2025/02/?m=1

Artist bio:
Johnny Dixon is Irish and lives in London.

 
2) Ecka Mordecai - Show up or shut up
From the album Critique + Prosper.
 
 
3) iT - Irena Tomažin - intro- the crying game 
From the album Crying Games.
 
 
4) Frontera Glaciar - Meditar
From the EP 'Patio Nevado'

Compilation of sounds and voices from Patagonia, including personal elements, natural and tourist spaces of Punta Arenas (Strait of Magellan, Plaza de Armas).

Artist bio:
Ignacio Núñez Oyarzo (Patagonia, Punta Arenas) Graduate in Education (UMAG, 2015) Pedagogue (UMAG, 2016) and Master in Arts (PUC, 2020). Sound artist, producer and DJ. Frontera Glaciar is his artistic name and personal space in which Ignacio experiments and combines soundscapes of the Patagonian territory with various voices. His name is due to the fact that he was born and lives in the city of entry to the polar territory. His line of work is divided into the creation of sound series (radio art) and sound experimentation and live performance. And he develops projects linked to: climate change, territory.

Website/social links
https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar
https://soundcloud.com/frontera-glaciar
https://fronteraglaciar.bandcamp.com/album/patio-nevado

5) Niko-Matti Ahti - Kaivajaiset Part 1.2
From the album  Kaivajaiset
 
Best known for his work alongside his partner Marja as Ahti & Ahti, Niko-Matti has been an active participant in the Finnish underground since the late 1990s. "Kaivajaiset" is his first solo recording and was originally conceived of as an installation. Part horspiel, part musique concrete, it is a piece of music that draws comparisons to the work of pioneering avant-garde composers such as Henning Christiansen, Annea Lockwood, Luc Ferrari, and Pierre Mariétan. Ahti weaves vivid foley and domestic recordings together with oration and classical instrumentation (violin, clarinet, bass clarinet, and flute) to arrive at an expansive, narrative, and at times thrilling composition. “Kaivajaiset" was exhibited in two Finnish galleries: B-Galleria in Turku (2019) and 3H+K in Pori (2020). The installation drew inspiration from The Diggers' 1649 pamphlet and Michel Foucault's extension of Friedrich Nietzsche’s concept of genealogy, and consisted of sounds, opinion pieces, a print copy of the pamphlet, and four cardboard collages. This record is a summary of the sounds of the installation. 

This piece was composed at the end of 2024 with this feeling of wandering, of strolling in my memories that I was able to capture with my ears, my eyes, my nose, all my sensations, things that my life is made of and that I keep almost like treasures. Here, I feel free to enjoy surprises, to rediscover my memories, to give them new life.

I had the pleasure of using sound moments lent to me by Luke Fowler, Chris Watson and Luc Ferrari, and I mixed them with my own recent recordings and some of my archives from the 1970s onwards - albeit sometimes with painful joy.

Brunhild Ferrari, 24th of February, 2025
 
‘Errant Ear’ is a co-commission between Radiophrenia and Kunst zum Hören, Osterreich 1 produced with the support of Creative Scotland.  

CeLe pièce a été composée fin 2024 avec ce sen<ment d'errance, errance dans mes souvenirs que j'ai pu capter avec mes oreilles, mes yeux, mon nez, tous mes sens, des choses dont ma vie est faite et que je garde presque comme des trésors. Ici, je me sens libre de profiter des surprises, de redécouvrir mes souvenirs, de leur donner une nouvelle vie. J'ai eu le plaisir d'u<liser des moments sonores prêtés par Luke Fowler et Luc Ferrari, et je les ai mélangés à mes propres enregistrements récents et à certains de mes archives depuis les années 1970 - parfois avec une joie douloureuse.

Brunhild Ferrari Montreuil, le 24 février 2025

“Like most of my fellow human beings, I was born, I grew up, I attended schools, I passed exams, I failed, I loved, I worked hard sometimes, I enjoyed life; I continue. I worked with Pierre Schaeffer in the ORTF research department on the relationship between sound and image. Of German origin, I have had an activity as an interpreter and translator. Following Luc Ferrari's advice in matters of life, music, and composition, and working with him over the course of our 40 years together, I made my own Hörspiele and radio plays broadcast on France Culture, in the United States, and the main German radio stations. Since Luc left us in 2005, I have taken care of the preservation of his vast archives; founded the "Association Presque Rien - Friends of Luc Ferrari"; initiated and organized the biennial competition PRESQUE RIEN Prize by providing artists with original sound material from Luc's sound recordings; and edited a book of his writings and documents (Musiques dans les spasmes, published by les Presses du Réel, France) as well as one more book in English together with Catherine Marcangeli (Luc Ferrari: Complete Works, published by Ecstatic Peace library).  I composed music; I continue.”

Variations on a Topography is constructed in stratified layers, each containing a recording of a full scan of the AM/FM spectrum from bottom to top and back down again. Tuning through the spectrum in the same place every time, Kohl charts a map of her specific signal, showcasing the geographic specificity of radio and drawing out its topography with additional musical sounds. Cello and synthesizer highlight moments of clarity and static, creating a counterpoint ruled by the dichotomy between them. These “signal sweeps” also offer a sedimentary view of time, capturing multiple 28 minute sections of what would otherwise be completely ephemeral sounds. The recordings, taken over the span of a few months, speak in various ways to the passage of time – the weather gets colder, traffic patterns shift, wars break out. The signal, like a ghostly mountain range, hovers around us. Artist bio: Lia Kohl is a cellist, composer, and sound artist based in Chicago. Her wide-ranging practice includes composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound. More info about Lia at liairenekohl.com Website/social links liairenekohl.com @liairenekohl on Instagram

1) Marco Dibeltulu - Due atomi di idrogeno e uno di ossigeno (9:10)
2) Domenico De Simone - PEACE WIND (6:55)
3) Elsa Vass-de-Zomba - safe spaces (5:20)
4) Marie Koppel - Er hat mich verlassen 2000/2024 (1:24)
5) Bruno Belardi – Antropocene (3:09)    


1) Marco Dibeltulu - Due atomi di idrogeno e uno di ossigeno  

The piece was composed for World Water Day. We are made of water but sometimes we take it for granted, while scientists hope to find traces of it on other planets. The piece was composed by processing a series of environmental recordings at the fountains on Monte Limbara. It has a tripartite structure and leads the listener through three different sections with a narrative intent. The first part is made up of synthetic sound bands, which evoke the origin of water in an indefinite space and in an ancient time before arriving on our planet. A second concrete section follows, where the infinite timbral nuances of water emerge. However, there is no shortage of sound processing, which coincides with the human presence on Earth. The piece concludes with a section of synthetic sounds, which this time evoke the passage of water from the Earth to larger spaces and unknown places.  

Marco Dibeltulu (Alghero, Italy, 1971) studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music (with Francesco Giomi, Elio Martusciello). He teaches Musical Technologies at the Liceo Musicale “D. A. Azuni”, Sassari. His compositions have been selected in many competitions, as 24th International Electronic Music Competition “Luigi Russolo” – Varese; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara; ICMC 2012 – Ljubljana; NYCEMF 2014, 2015 – New York City; Soundcinema Düsseldorf 2022 (1st Prize); The San Francisco Tape Music Festival 2023. He performed at Festivals: Synthèse – Bourges; AKOUSMA XV - AKOUSMA_INTERNATIONAL – Montréal;
http://www.marcodibeltulu.it/
https://soundcloud.com/marco-dibeltulu
https://rmnmusic.com/marco-dibeltulu/    

2) Domenico De Simone - PEACE WIND  

The WIND has no borders, it cannot be stopped. PEACE WIND is based on the sound of a WIND, the same WIND that caressed my face as a child, when my SOUL was still INNOCENT, when my SOUL didn't yet know to BE. I have entrusted the task of making the WIND "speak" to MUSIC, or rather of making it "sing" words of PEACE, but in an "unheard of" and "inaudible" language, intelligible only to the most intimate and profound part of our being, thus hoping that our SOUL, finally "free", can let itself be moved and transported to an IDEAL WORLD, where the condition of "normality" is PEACE, where the only "imaginable" WAR is to save our EARTH. PEACE doesn’t shout. PEACE WIND: WIND of PEACE, PEACE in the WIND.  

Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni. His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, Germany, etc).
https://www.facebook.com/domenico.desimone.7587    

3) Elsa Vass-de-Zomba - safe spaces  

This is the second piece of two, from a project done in collaboration with No More Superheroes. I was experimenting with electroacoustic audio creation for theatre, creading soundscapes intended to provoke questions. These pieces were created on the topic of land rights and the Kinder Scout trespass. I used field recordings taken from Ryebank Fields, a beautiful green space in South Manchester near my home. It's under threat of development, but the crickets don't know that.  

Elsa Vass-de-Zomba is a composer and activist from Manchester, England. They like exploring the intersection of music and politics, and finding an outlet in nature. Their other work includes writing for orchestral instruments and leading protest choirs.
https://linktr.ee/elsatries  

4) Marie Koppel - Er hat mich verlassen 2000/2024  

At age nine, my girlfriends and I had a band. This is when the song "Er hat mich verlassen" was created, a pop song about being left by a boyfriend that we all had never actually had at that time. Twenty-four years later, I improvised over that song, blending my voice with that of my younger self, becoming both one and two distinct voices. I view this piece more as a vocal experiment than a song-song.  

Born in Essen, raised between Ruhr area, Rhineland, and Santiago de Chile. After finishing school, sold sandwiches in London. From 2015, studied Comparative Literature in Frankfurt. Came to love radio with the independent station radio x and the multilingual project Good Morning Deutschland. Moved back to Ruhr area in 2022, auditing Film & Sound courses in Dortmund. Worked as stagehand at a nightclub. Produced the radio play Wüstern (ein teurer Abend) on no budget, earning third place at Hörspielwiese Köln. Broadcast in 2024 on Deutschlandfunk Kurzstrecke and at TARMAC festival Leipzig. Teaching German as a second language, experimenting with sound.
https://soundcloud.com/user-405110167    

5) Bruno Belardi – Antropocene  

What will be the future of humanity in a world we have irreparably altered? Human action, intense and relentless, takes ceaselessly without giving anything back. Rapid progress has left behind a trail of destruction, exploiting the planet beyond its sustainable limits. I have tried to imagine and represent this chaos, where every sound becomes a call to the reality of a world in crisis. In my travels, I have collected sound material to capture the different nuances of various landscapes, urban and natural, noticing how human impact is not only physical and structural, but above all sonic. In this piece, I have used recordings collected from different journeys.  

Bruno Belardi is a musician and composer from Naples. He studies Classical Double Bass and continues his journey in Electronic Music under the guidance of Elio Martusciello at the "San Pietro a Majella" Conservatory in Naples. Currently, he is engaged in international concert activities as a member of Ars Nova Napoli. His acousmatic works are beginning to receive initial recognition, including being selected as a finalist for MA/IN, Soundcinema Düsseldorf and the "NEW SOUND FIELDS COMPETITION" by Nuovi Territori Sonori.
https://www.instagram.com/bruno_belardi/

6) Renée LoBue - "A Place Like Home I" (2:15)
7) Solen Fluzin - Windswept Whispers (7:48)
8) andre birken - 31 monstrous demonstrations -  EFFO ISN G (1:47)
9) Katrina Brown & Sarah Scaife - sound of Sound (20:35)

 
6) Renée LoBue - "A Place Like Home I"

“A Place Like Home I” is the audio component of Renée LoBue’s two-part audiovisual installation, A Place Like Home I & II, currently featured in the Sovereignty exhibition at The Space in Montclair, NJ. Written, recorded, produced, and performed by LoBue, this sound piece evokes the sensations of air travel, symbolizing displacement, whether from home or country. Through immersive soundscapes, LoBue’s voice, taking on the role of a female pilot, conveys a sense of hope and the freedom to rebuild life anew. The narrative highlights the resilience required to find a new sense of home in unfamiliar surroundings, blending themes of loss, renewal, and empowerment. This piece serves as a key element in the installation, reflecting on both personal and collective experiences of starting over.

Renée LoBue is an American multidisciplinary artist who seamlessly blends music, visual art, photography, performance art, fiction, and installations to create immersive experiences. Self-taught and prolific, she has released 11 albums and EPs with her bands Elk City and Flowers of America (FOA) and has crafted hundreds of visual artworks and thousands of fantasy self-portraits. In her audiovisual installations, she acts as a narrative tour guide, leading audiences through her creations. LoBue’s work often tackles themes of empowerment and social issues. She is recognized for her reinterpretation of Keith Haring’s mural that once graced the Houston-Bowery wall in NYC in the 1980s. Notable musicians she has worked with include Lloyd Cole and members of the legendary indie bands Luna and Versus. She co-founded the Magic Door independent record label. Her art has been exhibited at Edinburgh Fringe, The Rochester Center of Contemporary Art (RoCo), Brooklyn’s Gallery GAIA, and the Barbagelata Contemporary Art Foundation in Barcelona. LoBue’s intuitive improvisation across mediums enables her to craft spontaneous and deeply personal works that delve into complex feminist narratives and the empowered journeys of women across generations.
https://linktr.ee/reneelobue

 
7) Solen Fluzin - Windswept Whispers

Windswept Whispers is a journey observing the intricate relationship between human life and the forces of nature on the Shetland Islands. This extract invites the listener inside the belly of a ferryboat as it approaches the island of Yell. From the raw, mechanical pulses of the engine, the vessel's breath slowly emanates.
This journey started in August 2024 at the invitation of artist-researchers and educators Ayşe Köklü and Helen Frosi for the AuralPluralities Network's first field trip project: Windworks.

Sol is a sound artist and cultural worker passionate about sound, space and fair economy. Trained as an architect in France, Australia, The Netherlands and the US, she has led programmes on site-specific sound art, participatory multimedia art, experimental architecture and environmental engineering. In her sound work, she traces landscapes by walking and mapping rhythms and echoes of atmospheres encountered. Gently pulling her ears to listen to the soft whispers of nature coaxing hidden stories to the surface.
http://www.solenfluzin.com

 
8) andre birken - 31 monstrous demonstrations -  EFFO ISN G

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken


9) Katrina Brown & Sarah Scaife - sound of Sound

An audio piece by Katrina Brown & Sarah Scaife. 'sound of Sound' emerged from a walking conversation in August 2021, skirting the nautical borders of the port and city of Plymouth, Devon. Re-directing the focus of our CAMP Go-See-Bursary to visit the Liverpool Biennial 2021, needing to stay closer to home due to pandemic shielding we turned towards Plymouth, a city that like Liverpool is a port with a colonial legacy and a community of artists. We followed old routes across the peninsular to edge up to the port from behind. Our conversation considered body and port. intimate and global. close and far. visible and tangible. and belonging. Also reflecting – through the body – on how we had not been able to travel, and had to reorient our connection to body, other, world. On the edges of land [port] and the edges of writing-scripting-voicing [exchange].

Choreographer Katrina Brown works across moving, drawing and writing as an entangled process of gathering sensory-visual-sonic-textual data. Her work considers (dis)-orientation (low, dorsal, hesitant), animal-human-thing co-presence and ecologies of materials, bodies, surfaces. She is Senior Lecturer Choreography at Falmouth University, Cornwall.
http://www.katrinabrown.net
https://www.instagram.com/katrina_a_brown/?hl=en-gb


Artist Sarah Scaife is currently a doctoral research student in the University of Exeter, using practice-based performance research methods to explore "medicines of uncertainty". Her work is concerned with the stories people tell themselves and each other and how they affect a sense of the world, human and more-than-human. Listening and slow radio are integral to her practice.
https://cargocollective.com/berrybrowngown/
https://cargocollective.com/ragged-robin

Studio Cybi’s, Ar Ben Ein Hunain Gyda’n Gilydd, is an hour long audio poem, blending synth, archival sounds (from The Slatemakers a 1980 Horizon documentary and assorted YouTube recordings taken from old raves) and spoken word into a manifesto-prayer fusion.

Located on an island off the northern tip of Wales, Studio Cybi seek to redefine art’s purpose, steering away from the conventional contemporary art world. They aspire to transform art into a ritual, activating both matter and landscape, while questioning the corporate and sterile aspects of the mainstream art scene. The project aims to connect individuals, fostering a deeper engagement with art beyond the boundaries of the conventional art world.

Artist bio:
STUDIO CYBI (SC) is a curatorial duo from Holyhead, North Wales, comprising artists Iwan Lewis and Rebecca Gould. Their practice is rooted in shared experiences of living in communities facing challenges under a hostile political climate. SC's practice is a symbiosis of art and curatorial work, consistently driven by a focus on political and social realities, particularly those affecting communities in Wales. Since 2016, SC has been curating site-specific exhibitions and projects, engaging with unconventional spaces such as local holy wells and their own dining room, while addressing issues of place, community, and politics.

Website/social links
http://www.studiocybi.com
http://www.instagram.com/studiocybi

Our collaborative test-pitting practice gestures towards the archaeological process of delving into a site of enquiry to reveal layers gathered over time, fragmented artefacts, traces of presence. We create a palimpsest of sound that combines composition and improvisation, explores new or re-imagined lines of connection across time and place, and interweaves ideas of inner/outer ecologies. This live-to-broadcast sound work uses field recordings from a new site, with some live manipulation, a prepared instrument, words and voice materials. Found text will come from SEPA, including flood and river flow data. We see this piece as solidifying our previous works, which we excavated during our recent residency at Glasgow Project Rooms. The residency culminated in a more physical performative offering.    Artist bio: Nichola Scrutton is an award-winning composer, performer and artist who produces self-directed works across various media, and collaborates on a range of interdisciplinary and participatory projects. Zoë Strachan is an award-winning fiction writer and librettist. She is Professor of Creative and Interdisciplinary Practice at University of Glasgow. Nichola and Zoë have been collaborating since 2016. Website/social links https://www.nicholascrutton.co.uk/ Twitter/X: @NicholaScrutton and @zoestrachan Instagram: @nic_scrutton and @strachanzoe BC: https://nicholascrutton.bandcamp.com/ SC: https://soundcloud.com/nic-2-1 Mailing List: short link - http://eepurl.com/gihZh9

The work Shadows and Tender Frailties is a composition using modular synthesis and field recordings. I created this work with the idea of creating a piece that felt like a lonely soundtrack searching for a film. I wanted to let the listener fill in the characters, and the narrative, creating their own film in the theater of the mind. This idea came about after performing previous works and audience members explaining the things that they saw and felt when listening to my music. I feel like this would work well on radio where the listener could be in their own chosen environment to experience the work. The title Shadows and Tender Frailties refers to the profound and often hidden parts of us that lie dormant. Our tender frailties refer to the delicate and sensitive weaknesses inherent in our humanity.

Artist bio:
I'm a Berlin-based sound artist, composer, and visual artist embracing the atonal and percussion-less. I create a blend of ambient music and musique concrète. My process invites play, possibility, and randomness, giving my work a distinctive, gridless feel. Adopting and extending the musique concrète approach which uses recorded sounds as raw material in a form of artistic assemblage, I record improvisations on modular synthesisers, noise machines, and acoustic instruments then assemble these sounds in the studio. I am very interesting in creating works for radio, film and theatre.

Website/social links
https://www.josephjamesfrancis.com/
https://www.instagram.com/josephjamesfrancis/
https://soundcloud.com/josephjamesfrancis
https://josephjamesfrancis.bandcamp.com/album/shadows-and-tender-frailties

The click of the derailleur, the whirr of the hub, the hum of a carefully lubricated chain – in an era of climate breakdown and energy scarcity, the bicycle is an orchestra of sounds that embody attributes of energy-efficiency and recycling that will be essential to an low carbon future. Reduce, Reuse, Re-cycle takes the listener inside the bicycle workshop via a forensic collage of repair sounds as beat-up bikes get nurtured back to smooth working order. Chain-lines are analysed, barrel adjusters are manipulated, hanger alignment is checked and bottom brackets are checked as the low-carbon vehicles of the future are forged. Derek Walmsley is a writer and bicycle mechanic based in London, and the former editor of The Wire. His bylines have appeared in Electronic Sound, The Quietus, London Review Of Books and elsewhere, and he teaches at the London College of Communication. You can find him blogging at slowmotion.blog Weblink: slowmotion.blog

Most of the time radio is used by and for people to communicate with each other, to project sounds into the invisible space, to make causal connections and statements. We are curious about the sound of that invisible space - what can it communicate back to us if we shift our perception of the senses? We aim to explore the ephemeral, that which lies beyond our regular range of hearing and perception. By listening, we ask where, when and how do we exist in the sound field? In the piece we work with coils and field recordings. The coils act as receivers and amplifiers for the EM field around us, including sound emissions of the broadcasting equipment; but also as speakers - transmitters of the past. Combining and processing field recordings from the past and various places we decontextualise them, and reflect on ever-present change, memory and the position in the sound field. Throughout the piece we facilitate an interaction between the existing soundscapes - those within and those beyond human perception, bringing them into contact with each other - a process sometimes resulting in attunement. Artist bio: Ni and katarina, are currently based in Den Haag, Netherlands. They are delving into terra spaces where paces and rhythms are subtly morphing, shifting, sedimenting like geological formations and (our) memory. Points of reference are temporal. Moments are transient. We are oscillating in a fault zone. Ni works as a sound designer for film and audio forms editor. They work with analog electronics, field recording, always curious and conscious of the systems and structures that surround them. katarina (id-entity work in progress) is coming from body weather background. Currently studying at Institute of Sonology, they explore the realms of sound. Website/social links https://www.instagram.com/postintrotwone/ https://olpuas.bandcamp.com http://www.instagram.com/sonoronja/ http://www.lllfr.bandcamp.com https://www.imdb.com/name/nm9416108/

Radio glitches and short wave interferences as a musical instrument.

Unfrequented Frequencies is a solo improvisation by JPRRR, who uses shortwave radio interference as the basis for live performances.

My first contact with electronic music came from a radio set, more specifically the interferences that could be heard between SW stations. As a child, I spent hours fiddling with the radio dial looking for modulations. As an adult, I record these frequencies, I archive them on audio cassettes. Then I bring them back to life by playing the cassettes at different speeds, filtering them and changing them with effect pedals.

These frequencies are enhanced by being imprecise. They are surrounded in silence without being silent. They are unfrequented, but alive

Unfrequented Frequencies has been commissioned, performed or broadcast in various places since 2023, including : La Generale (Paris), Chapelle du Musée de l’Hospice St Roch (Issoudun France), UrbanSound Art festival (Norway), Floating Transmissions Festival (Hamburg Germany) Sound Art: Kunst zum Hören (ORF-Austria).
 
Jean-Philippe Renoult : A man of sound, a man of radio. Since the 1980s, he has been involved in sound writing inherited from montage and collage techniques. Since then, he has been developing installations and radio features involving pre-recorded noises, loops, music and voices. Since 2016, Jean-Philippe uses radio sounds and shortwave interferences as a musical instrument for the performance series « Unfrequented Frequencies ». In its research of unusual use of radio waves, he produced with DinahBird the "Antenna Gods" series, which combines surveys, sound recordings, photographic works and lectures on the secret use of algorithms and radio waves in high-frequency trading.
 
https://bird-renoult.net/
https://bird-renoult.net/un-frequented-frequencies-frequences-infrequentees/

Ecka Mordecai - Hot Tarmax (1:21) From the album Critique + Prosper.

Cadogan Street, girl with Ribena box attempts to describe a moment of complete absorption: a stranger on a Glasgow street, a child, stopping to sip from a juice box. Selected from a series of sketches that witness people in states of intense concentration, observed over days Kilmartin spent walking Glasgow’s inner city grid, the poem is expanded, looped, erased and supplemented in an editing process that, like the writing, tries to get inside the unexpected corners of a consuming, if fleeting, everyday experience.

Written, spoken and edited by Ash Kilmartin with bass improvisation by Dada Phone.

Produced as part of a residency / exchange with Radio WORM, Rotterdam.

Ash Kilmartin is an artist and radiomaker from Aotearoa New Zealand who lives in the Netherlands. She is interested in the uses and meanings of the speaking voice and in finding ways to document the small moments of private and collective experience that shape the way we think our own lives. She likes to play with the gaps. She holds an MFA from the Piet Zwart Institute, Rotterdam. From 2020 to 2022, she opened the doors at a shop called LIFE. Since then, she is part of the team behind Radio WORM, and the publishing collective Short Pieces That Move!

ashkilmartin.net

radio.worm.org

 

Petra hoc’h eus kavet? (what did you find?) This piece explores memory, loss, and cultural erasure through a phone call with my late grandmother who passed away in January 2024. In the conversation, she recounts her childhood in Brittany and sings “Petra hoc’h eus kavet, Yannig?” (What did you find, Yannick?)—a Breton song passed down orally from her grandmother. Once suppressed in France, the Breton language has now sadly been lost to our family. In my grief, I reach for lost connections, relying on imagination to fill gaps. For the piece, I played back and re-recorded her song in a room until only the resonant frequencies shaped by the melody remained, which I then further manipulated through granular synthesis to create a new sonic language. Processed ocean sounds recorded at Westport Beach evoke Brittany’s shores, symbolizing transformation and erosion. This piece reflects on how audio processing can reimagine cultural loss and give rise to new sonic narratives. Artist bio: Matt Robin is a Glasgow-based sound artist, musician, producer and a member of the band NEY. His practice spans experimental composition, collaborative improvisation and sound design. His electronic work explores raw textures and elements of drone mixed with rhythms that shift between controlled pulses and chaotic bursts — often paired with acoustic drums, percussion and other electroacoustic instruments. Matt’s work dissolves boundaries between sound and sensation, engaging both body and ear. He also experiments with field recordings, manipulating fragmentation, error, and decay to reshape meaning, create new sonic narratives, and invite listeners to reimagine time, place, and memory. https://www.instagram.com/mattemattik/profilecard/?igsh=bmlqaHhnNTlqazFp https://www.instagram.com/n___e___y___?igsh=MXhmdHI2cmJiM3ZodQ==

Electroacoustical Poetical Society poets  Ilaria Boffa, Tony Brewer, Brian Price, Joan Schuman, Marjorie Van Halteren and Gregory Whitehead each respond to the theme "Entropy." This is the resulting collection.

Artist bio:
EAPS was created by Marjorie Van Halteren, a poet, sound artist and composer living in Lille France. Find details at http://www.electroacousticalpoeticalsociety.com.

Website/social links
http://www.electroacousticalpoeticalsociety.com,
https://eaps.mixlr.com/

Where must the prayers hide in the sound of the city so that clouds could reach them and water?
An undertone of the city? An overtone? A polyphone?
Millions of them in a cosmic float?

Delhi Polyphones is a series of multichannel compositions, performances, and rituals, composed of Delhi’s undertones, overtones, and many other polyphones. After recording soundscapes from around Delhi, including tombs, railway stations and tracks, lakes, atmospheric virtual tones, parks, industrial areas, bridges, underpasses, universities, and ultrasonic environments, using inverse notch filters and new pure data devices, the collaged soundscapes were synthesized in their polyphony to return to the city as a natural body and hear its many paraphonic polyphonic voices- interdependently making up our sonic environments -to access aural auroras of the city which reach out to the skies in feebler, nobler intonations and gestures.

Read full description here - https://tinyurl.com/delhipolyphones

Artist bio:
Riya Raagini & Pratyush Pushkar a.k.a. Bariya is a queer transdisciplinary artist and writer duo from New Delhi, India.
Their practice flowers from sincere ecological & decolonial awareness and meditation probing through subjective consciousness(ing) with a request to examine and host alternative forms of cognition, listening, un-identity, spirituality, and active resolve. Navigating through creating/rediscovering queer/granular cognitive responses, rigorous poetic probes, collaborative ecological & bioacoustic listening, running an ecological radio station and meditating on ever-present everyday sonic reconciliations. Their recent listening undertakings have been focused around polyphony, speculative bio-acoustics, and granular timesthesia.

Website/social links
Website: https://www.bariyastudio.com/
Instagram: @bariyastudio

Ease into spring. Artist bio: A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.

1) Juliette Chartier & Anaïs Cabandé - ambre jaune (yellow amber) (6:19)
2) Jorge Carrillo Jardón - Duality with noise pollution (5:11)
3) Kevin Poulton – Resonance (4:02)
4) Jamie Lemoine - Tree 68 Outtakes (5:39)
5) maia harding - IL,CD (8:14)
 
 
1) Juliette Chartier & Anaïs Cabandé - ambre jaune (yellow amber)

"ambre jaune" is an electroacoustic composition by Juliette Chartier and Anaïs Cabandé featuring crackling, electromagnetic waves and bat sounds. The title refers to its Greek translation êlektron. In ancient times, people discovered that rubbing yellow amber produced an attraction to other objects, so they called this force electricity.
ambre jaune was conceived as part of "1485khz", a collective sound installation. Somewhere between documentary, sound poetry and electroacoustic composition, the listening devices questioned the way sounds inhabit us, haunt us and affect bodies and minds. The title 1485khz refers as much to radio, and the fantasies it conveys, as to the physical phenomena that affect the sound wave, and our intimate perception of it.

Juliette Chartier is a sound artist, at the crossroads of several practices: sound documentary, electroacoustic composition and radio exploration. Her work, rooted in a documentary approach, is based on sound collection and field-recording. From this material, she creates sound documentaries as well as compositions for concerts and installations.
https://juliettechartier.fr/
https://www.instagram.com/juliette__chrt/
 
Anaïs Cabandé is a sound artist, composer & engineer based in Marseille.
https://www.instagram.com/anais_cab/
https://soundcloud.com/anais-cabande
 
Juliette and Anais are part of Copie Carbone, a radio collective based in Marseille, France.
Active members of the Copie Carbone sound creation collective, they take part in collective sound adventures: ephemeral radios, collective creations and listening sessions.


2) Jorge Carrillo Jardón - Duality with noise pollution

This piece is about how noise pollution is already part of our day and how a large portion of this pollution, both visual and auditory, comes from advertisements or publicity, affecting our travels, stays, or simply the enjoyment of being static in the face of this pollution.
Traveling on the metro through the great cities of the world makes each trip different, but one thing that is always present on metro or train journeys is listening to or seeing advertisements, which are often clearly unwanted by users. But to what extent do our headphones or distractions on our phones free us from these ads?

Jorge Carrillo is a digital artist focused on video art, who seeks to address normalized issues today such as visual pollution. From a very young age, he felt a connection with technology, which gave him the foundation to enter the world of digital art. Digital art student at the Faculty of Arts at the Autonomous University of the State of Mexico. I have exhibited in several galleries such as "Refugio Para Emergencias Visuales" and "El Teatro Municipal de Tenango."
Currently, Jorge Carrillo is working on video art pieces with a more critical approach.
https://www.instagram.com/elcompitascorpius/?hl=es
https://capocarrillo.wixsite.com/scor

 
3) Kevin Poulton – Resonance

Resonance was inspired by the composer and accordionist Pauline Oliveros and the album Deep Listening recorded in the Dan Harpole underground cistern in Port Townsend Washington. I love recording sound in large spaces with huge natural reverberation and recently had the opportunity to record at Block 336 Art Gallery in Brixton. The Gallery is in the basement of a Brutalist Concrete Building built in the 1950’s. The Instrument featured is a Waterphone with 42 brass rods. The sound of the Waterphone has featured in many films as part of the music soundtrack and as a sound effect. An unusual feature in the gallery is a drain which collects the buildings rainwater. It was raining during the recording session and it felt appropriate that the sound of the water running through the pipes became part of the final work. The Waterphone was played using a violin bow and mallets.

Kevin Poulton is a Sound Artist based in Waterloo, London. He is also one half of the electronics duo pig7 and a member of the Arts Collective Flux Soup.
https://kevinpoulton.bandcamp.com

 
4) Jamie Lemoine - Tree 68 Outtakes

Experimental Ambient Soundscape using original compositions I created as part of my creative development process for an ecological art installation commissioned by the Irish Museum of Modern Art as part of "Earth Rising" Eco Festival, September 2024. With my partner Dervla, we developed a low impact eco learning and immersive audio experience with a Horse Chestnut tree — Tree 68. We spent 6 weeks visiting and sitting with this one urban tree in the grounds of the Irish Museum of Modern Art. Quietly listening and observing. The compositions in this soundscape were created in response to this ecological site.

Jamie has worked with music and sound for several decades. An album he produced won best rap album at the California Music Awards in 2004. Jamie is now focused on creating experimental music and sound compositions, often including field recordings and found footage. The Irish Museum of Modern Art commissioned an original soundscape composition by Jamie in 2024, responding to an ecological site located in the grounds. A site-specific music composition of Jamie's was selected for inclusion in Sound Walk Berlin as part of the Month of Contemporary Music Berlin 2023. He works with partner Dervla Clarke as POND Studios.

@pond.studios
https://www.pondstudios.com/
https://www.pondstudios.com/tree68

 
5) maia harding - IL,CD

IL,CD is a collection of three experimental works made using nodal composition techniques in 2023. Each began as a process of sound collection, using a combination of field recordings and sounds collected from the internet to build complimentary soundscapes. The sounds were selected with a focus on tactility and realism - I wanted everything in the work to be organic, to contrast the highly digital composition method. I then designed a MIDI node network for each, triggering the samples as part of longform improvisations, each note chosen at random by my computer from paths I had laid out. Through realtime parameter manipulation and lots of editing, I sought to find as much musicality as possible in these randomised improvisations.

maia is a multidisciplinary early career artist, composer and theatre maker. Her practice interweaves field recording, synthesis, and live performance, with a strong emphasis on devising, creative collaboration and improvisation. She also writes for spoken word. Her work explores self-determination and the queer+trans experience. She is interested in non-normative composition methods which foreground ephemerality, randomisation and performability.
http://www.maiaharding.uk
@angel.of.business

6) Paul Oehlers – Automaton (6:09)
7) Paul Baran - The Barrier (5:56)
8) andre birken - 31 monstrous demonstrations - GAUMENFREUDEN 2 (0:27)
9) Jeff Gburek -  Grodjdibodu Romania Well Water Echoes (1:39)
10) Camilla Hannan – Spital (10:00)
 
 
6) Paul Oehlers – Automaton

Written as an homage to unending Rube Goldberg devices, Automaton employs different sounds according to Luigi Russolo’s classifications in roughly equal amounts. The sounds were remotely recorded by the composer and assembled in the construction of the piece. Additional sounds come from the convolution of sounds and resonant filters.

Paul A. Oehlers is most recognized for his “extraordinarily evocative” film scores. (Variety) Films incorporating his music have won the Grand Jury prize at the Hamptons International Film Festival, the Atlanta International Film Festival, and the Indiefest Film Festival. In addition, films with his music have screened at dozens of festivals in Europe, Asia, Africa, and Australia. Paul was named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006. He is currently Associate Professor of Audio Technology at American University in Washington, DC.

 
7) Paul Baran - The Barrier

The Barrier is a sound metaphor of the Architecture and structures built to segregate the marginalized in Society from participating in Daily living, within the constraints of the post Capitalist World.

Paul Baran is a Sound Artist based in Glasgow, UK.  He is primarily concerned with using the  bridge between the electroacoustic world of sound and the current political landscape. He has released three albums acting as a series of interventions into the inherent structural weaknesses of a Global Society,  transitioning from the post modern to the post human.
https://paulbaran.bandcamp.com/

 
8) andre birken - 31 monstrous demonstrations - GAUMENFREUDEN 2

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken


9) Jeff Gburek -  Grodjdibodu Romania Well Water Echoes

In the Romanian village of Grodjibou (pronounced grow-jee-bee-do) there is a church-yard with a well whose shaft runs 33 meters down to the water
and the sound of excess water droplets richohets back up to our recording device. No special effects here.

Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions.Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux.Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acousticsof Gaian whispers enveloping and composing existence.
http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com/

 
10) Camilla Hannan – Spital

Spital is composed from field recordings made in and around Glenshee, Scotland in the summer of 2024 during the Murmuration residency organised by Jez Riley French. Its a reflection of my ongoing thoughts around landscape, how we engage with it and how difficult it seems for us to walk lightly within it.

Camilla Hannan is an Australian sound artist who for over 20 years has developed her sonic practice working primarily with field recordings. She processes these recordings into abstract representations of place and experience. She investigates the construction of urban and natural environments sonically, and spatially, morphing these elements into new sound worlds. Camilla’s work is centred on a deep fascination with the way in which we listen to our environment and how this listening impacts upon our micro and macro worlds.
http://www.camillahannan.com
Instagram: @camillahannan

our queered version ov folk-song twa corbies is buried in this mix ... carrion species tidy the planet of homo sapiens mess and we demonise them for it ... weve always loved crows (and the whole corvidae family) ov raggedy, scavenging survivors while a murder ov crows are no more than the collective learning who killed one ov their own and passing the word on ... (yes its ahout the environment)

Artist bio:
gobscure.  tyneside-based and self-taught, we layer field-recordings with words and manipulated sound, encouraging listeners to slow down and feel.  we bring childlike wonder and playfulness to our sound-collages.  samples ov rivers, a nuclear power station, marbles, home-made percussion and fragments ov childhood-song might be woven to address issues such as homelessness, disability and bisexuality (all lived experience).  live, we craft unique experiences which are inclusive, friendly and immersive.  our sounds have been supported by 2 Sound&Music awards, a.n. bursary, Unlimited, radiophrenia, the auxiliary teesside, Future's Venture Foundation, Alma Zevi Venice.  alumni of Glasshouse  International  Centre  for Music Gateshead

Website/social links
https://gobscure.bandcamp.com
https://linktr.ee/gobscure
https://www.instagram.com/collectortears

SNAFU is an anti-narrative fiction dealing with themes of morality, the news, art, and the political corruption of the Social Bureaucrat Party. Its main protagonist is Nasrul, a 'facilitator for the non-hierarchy of projected imaginative phenomena'.

Written and performed by A. A. Walker with sound art from Riah Naief of Listen Gallery, Glasgow.

Artist bio:
A. A. Walker is a Scots-Irish writer and performer.

Occurring somewhere else between fiction, poetry, drama and the essay, A. A. Walker’s literary works are informed by experimental and avant-garde writing, innovative poetics, hypertext literature and surrealism, and have been described by the French philosopher Frédéric Neyrat as 'meta-poetic fiction / para-philosophical text / intra-political subversion'.

Published in US, European and Indian literary magazines and websites such as Great Works, Cauldron and Net, Muse Apprentice Guild, Droomschaar, Prakalpana Literature, Carnivorous Arpeggio, Plinth, Alienocene, Fugitives & Futurists, Agon, and others.

Author of Licentia (published by Thin Man Press).

Website/social links
https://aawalker.net

SNAFU is an anti-narrative fiction dealing with themes of morality, the news, art, and the political corruption of the Social Bureaucrat Party. Its main protagonist is Nasrul, a 'facilitator for the non-hierarchy of projected imaginative phenomena'.

Written and performed by A. A. Walker with sound art from Riah Naief of Listen Gallery, Glasgow.

Artist bio:
A. A. Walker is a Scots-Irish writer and performer.

Occurring somewhere else between fiction, poetry, drama and the essay, A. A. Walker’s literary works are informed by experimental and avant-garde writing, innovative poetics, hypertext literature and surrealism, and have been described by the French philosopher Frédéric Neyrat as 'meta-poetic fiction / para-philosophical text / intra-political subversion'.

Published in US, European and Indian literary magazines and websites such as Great Works, Cauldron and Net, Muse Apprentice Guild, Droomschaar, Prakalpana Literature, Carnivorous Arpeggio, Plinth, Alienocene, Fugitives & Futurists, Agon, and others.

Author of Licentia (published by Thin Man Press).

Website/social links
https://aawalker.net