Thu 10

The main sounds are live captured audio from Highland Wildlife Park (near Aviemore) in 2024 including a tiger talk, overheard discussions about snow leopards and general ambience.  The first half features a low drone which is almost the same sound as tape style background noise but synth generated and on a separate audio track, this moves around (but not much) until the last fifteen minutes where the synth starts to come forward in the mix increasingly towards the end.  Its an attempt to capture wide outdoor live sounds from the day and merge them into the made sounds of the night.

Artist bio:
Long term music, art and sound enthusiast with regular engagement and interaction with many Radiophrenia events over the years.  Currently usually working with field recordings, synths, DAWs, bleeps and beats but also with an appreciations for classic albums and simple good music.  Main music output varies from older more song based tracks to experimental, minimal and gonzo sonic journalism.  I also work with and collaborate on some visual and video projects mainly for my own and other local artists music and output.

I am work with Ryan Frame on monthly collaborations for Campradio in a similar style.

Website/social links
https://soundcloud.com/theladywelllout
https://x.com/ladywelllout
https://theladywelllout.bandcamp.com/

A crocodile clip is connected to the radiator in my studio and the wire connected to it is the signal of a jack input in my mixing board. This delivers not only a 50Herz hum, but also functions as an antenna. The result is an unstable hum. The output of the mixer feeds a class D amp, which drives a shaker.
A shaker is a kind of loudspeaker, but it reproduces sound frequencies in the form of vibrations. There is a long (8 meters) string tensed in my studio. The shaker is connected to the string. A pickup from the string is plugged into a guitar amp/speaker. Small curtain hooks are hanging from the long string.
This is what you hear.

Artist bio:
Mario van Horrik is a Dutch sound artist. One of his interests is feedback. His research project WAVES is investigating the artistic possibilities of using shakers to produce acoustic feedback. Together with his wife Petra Dubach he presents installations, performances and concerts world wide. Their work has been published in writing, on the internet, on LP, DVD, Video and has been broadcast on radio and television, amongst others in Turkey, Poland and Spain.

Website/social links
https://petraenmario.bandcamp.com/
https://vimeo.com/petraenmario

Built from many spontaneous Instrument & object & planned field recordings to capture time and place , then ruthlessly compiled in quick mirrored responses . Voice recordings of a nature back in time, improvised jabber from old cassette tape . Cross talk & frequency drifting pulls the strings of his heart & relating to loops and rough editing , audio drop outs , a Sonic Organic. A mix of forms in an expanding wave , nudging & slating whim , composition dealt in reality , a truth of intimate confessional & intruding a microphone , the tension of triggered sounds to ape pictures of life

Artist bio:
Shaun Robert (1966 - ) has been working with sound from an early age , a natural extension of play. Starting like many with a domestic tape recorder ; years finger poised on the pause button ; tunnelling into the present & falling into deep concentration ; in a trance of coloured sound trials ; impromptu expressions processed & filtered into moments of congealed sound ; also using field recording , in voxpop & audio voyeurism , of hauntological stylings , spoken word & singing. Falling apart to come together ; feeling the next transition is about to happen.

Website/social links
https://shaunrobert.bandcamp.com

Early in 2024 one of the last storms of the winter was recorded overnight, resulting in ten hours of material. The material was divided into two hour segments for editing. The first two hours have been processed and edited resulting in a stand alone work entitled Storm: 2 Hours. This work is comprised of rain drops, wind, and movement all of which describes the dynamics of the storm, in this case the first two hours. Upon reflection of the sound work, considering that the night was stormy, loud, and invigorating the final recording comes across as quite a reflective sound, which incorporates moments of evolving sonic excitement.

Artist bio:
Tom usually works with video and sound and often delves into watercolours. Further info can be found on his web site.

Website/social links
https://sites.google.com/view/acoustic-landscapes/other-works/storm
https://sites.google.com/view/acoustic-landscapes/home
bellartlabs.com
https://www.facebook.com/bellartlabs/

Episode 4. Help (Say What You See)  

A sleepwalker is beckoned by a distant sound, a helpline receives a call about lost marbles, and The Operator is affected by cries for help...  

Produced by Pete Hazell, with additional material by Sean Lee.  ~ Theme music by Alex Lupo   ~  "The Bridge" co-written and performed by Karen Dews (a.k.a. K148), with music by Lupo.  ~ Music in "Helpline Marbles" is "Tempo Locked" by via dekum ~  Untitled track by Titus 12

These archive recordings throw a light for those who see shadow puppets in the noise and chaos radio airwaves. As we eavesdrop on the solitary Operator's dispatches, we wonder what we can learn about Limbo, and life at the ambiguous "outpost".  

All episodes available here: https://limbotapes.podbean.com/

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

This album wants to stir, unsettle and surprise. But unlike with breaking news in the regular media, it refuses to transmit feelings of helplessness, fear and terror. Instead it wants to energize and revitalize, even when it grapples with incidents of violence and death. The pieces presented here were created between 1988 and 2012. In their togetherness they highlight and celebrate voices that are often relegated to the personal domain: sounds of new life, of unusual artistic sensibilities, of children’s and female voices. They have the power to tip the balance in our lives, in favour of love, resilience and human compassion. If we choose to listen! “Breaking News invites the listener to surrender to a journey to the place and time of the recording, transitioning into an abstraction of the original sounds, guided by her studio practice with looping, filtering, equalising, resonating, reverberating. It brings all the technique, sound research and creative thinking of a career spanning half a century into the present moment where for Westerkamp, headphones are still for listening, not fashion.” Jo Hutton, The Wire 460, p. 45 (excerpt) ARTISTS MotherVoiceTalk features the voices of Roy Kiyooka, Hildegard Westerkamp, Agnes Westerkamp, Mary Kiyoshi Kiyooka. Moments of Laughter features the voices of DB Boyko (performance vocals) and Sonja Ruebsaat (child's voice). Once Upon A Time narrators: Amber Martin-Ruebsaat and Sibling; girl’s voice: Sonja Ruebsaat. École polytechnique was performed by the choir of the Université du Québec à Montréal, directed by Miklós Takács.; Lori Freedman, bass clarinet; Lisa Rodrigue and Véronique Lucignano, trumpets; Daniel Fortin, percussion; and Johanne Latreille, bells. The original live recording by Charles Amirkhanian was the basis for the heightened listening experience presented here. Breaking News features the voice and sounds of the composer’s first grandchild. All tracks composed by Hildegard Westerkamp © 2021 (SOCAN)

In 2024, Drs. Sally Rodgers and Steve Jones undertook a Dyski artist residency in West Cornwall. Situated in woodland near Lamorna Cove, amid neolithic caves and standing stones, their project "Sonic Rituals" took participants on a sonorous journey deep into the landscape and its histories. As folklore activist and artist Ben Edge notes, "We are a ritual species." For Sonic Rituals, Rodgers and Jones employed various techniques - including sound art lectures, workshops, deep listening exercises, and performative rites - designed to invoke our primordial connection with sound and landscape. This experimental radio mix, created by Sally, features audio, sound, and music developed during the residency by both the artists and participants. It includes excerpts from workshop materials such as Hildegard Westerkamp's "Kitt's Beach" and works by John Cage and Murray R. Schafer. Other contributions come from participants Peter Rice, Adam McCreedy, Luanna McCallum, Charlotte Bourne, Liv Bartlett, Laura Irvin, Dan Cippico, Tom Gecim, Toby Edwards, Maria Shevchenko, and Dyski founder Dion Star. Artist bio: Various artists are featured on this group submission. Rodgers and Jones have a long history in electronic music production with millions of streams and sales under their aka A Man Called Adam. For Sonic Rituals the participants included professional theatrical sound designers Peter Rice and Adam McCreedy, musicians, dancers and performers Luanna McCallum, Charlotte Bourne, Liv Bartlett and Laura Irvin, nature sound artist Dan Cippico, horticulturalist & DJ Tom Gecim, electronic music maker Toby Edwards, Noods radio broadcaster and student at Paris' Science Po, Maria Schevchenko and Dyski organiser, artist and electronic musician Dion Star. Website/social links IG @amancalledadam_hq, IG @sallycalledada IG @dyski,co IG @dionstar

1 andre birken - 31 monstrous demonstrations – ELLOIUSANDA (3:44)
2 Ulrike Janssen - I KEPT HAVING SOUND CRACKLES IN MY HEAD (16:26)
3 M Cristina Marras - Unwanted Intimacy (3:27)
4 Frederico Pessoa - Movimento, pausas e repetições (movement, pauses and repetitions). (6:00)
 
 
1) andre birken - 31 monstrous demonstrations – ELLOIUSANDA
 
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


2) Ulrike Janssen - I KEPT HAVING SOUND CRACKLES IN MY HEAD

I KEPT HAVING SOUND CRACKLES IN MY HEAD from the years of my childhood, when I had played the same radio plays on records over and over again. They had got lost in the convolutions of my brain and had been creating their own patterns there ever since. I put my brain on the record player.

Ulrike Janssen, based in Cologne, Germany, works in the fields of text, sound, directing, dramaturgy, in the areas of radio, theatre, performance, installation. She has created over 30 features and audio pieces for radio. Her radio work has been awarded with the Karl Szcuka Grant Prize in 2011 and, together with Marc Matter, with the Karl Szcuka Prize in 2019.
http://www.ulrikejanssen.de

 
3) M Cristina Marras - Unwanted Intimacy

A haunting monologue, a power struggle between two vastly different entities. The speaker, seemingly a woman trapped in a toxic bond, reveals their pain and vulnerability, shattered by their partner's constant attacks. But amidst the despair, a chilling undercurrent of defiance emerges. The speaker unveils a disturbing truth: they are not a victim, but a force to be reckoned with, a presence that has infiltrated their tormentor's very being.
As the monologue progresses, the listener's perspective shifts, drawn in by the speaker's menacing words and the hint of a power far beyond their initial fragility. The final revelation, WHICH I DO NOT WANT TO SPOIL, leaves the listener reeling, questioning the true nature of the dominance and the unsettling reality that unfolds. The monologue concludes with a chilling declaration of power, leaving the listener to ponder the true meaning of the speaker's words and the unsettling implications of their strength.

M Cristina Marras is a multilingual storyteller who has been producing audio for over 20 years, beginning in Melbourne, where she worked as a radio journalist. M. Cristina defies conventional labels, embracing hybrid narratives that blend personal reflections and cautionary tales in unexpected ways. She has contributed to organisations like ABC Radio National and the Goethe Institute. Her work has been recognised internationally, with awards at the Transom Small, Random, and Meaningful prize, Audience Awards at the UK Audio Drama Festival and the Audionomia Sound Miniature Contest. Cristina's collaborations with international artists include projects with Stuart Fowkes, and Ross Sutherland.
httsp://http://www.cristinamarras.com
https://soundcloud.com/kommunic8

 
4) Frederico Pessoa - Movimento, pausas e repetições 

"Movimento, pausas e repetições” (Movement, pauses, and repetitions) is a recording made in the city of Ouro Preto, Minas Gerais, Brazil, in which different spaces are recorded in a contiguous manner, revealing a plurality of sounds, rhythms, and dynamic interactions that translate a musicality present in everyday life—a musicality that is constituted through the circulation of human and non-human beings and the relationships established there, even if only momentarily. The Church of São Francisco de Assis, frequented by tourists exploring the city, along with its surroundings—the circulation of vehicles on cobblestone streets, alleys, and nearby restaurants—forms the origin of a snapshot of an ever-changing soundscape.

Frederico Pessoa is a musician who collects soundscapes and everyday occurrences for reinterpretation in electroacoustic and radio pieces, audiovisual works, and multimedia performances. He has written texts at the intersection of literature and the sociology of listening, aiming to explore, through words, the possibilities for mobilization created by sound. He holds a Ph.D. in Arts from UFMG/Brazil, and is a member of ESCUTAS: a research and study group in sonorities at the same institution. Additionally, he is one of the coordinators of the Laboratory of Sound Experimentation at UFMG, where he works as a sound designer.
http://www.fredericopessoa.net
@f__pessoa
https://www.facebook.com/frederico.pessoa.50/

5 Radio Noise Duo - Run Time Errors (8:17)
6 Aurora Engine – Flutter (3:46)
7 Ralph Lewis - Dancing on the Airwaves Presents: Dick and Janes (13:13)
8 Chantal Francoeur - Requiem Ecolo (3:26)
 
 
5) Radio Noise Duo - Run Time Errors

The piece uses Software-Defined Radio architecture, which processes the sounds of tabla and electronic devices. Such an operation preserves the charecteristics of percussion sounds while generating digital errors. These in turn become the canvass for, created live, musical structure. Consequently, the radio space influences the sound of the whole. The radio becomes a kind of musical instrument.

Tomasz Misiak and Marcin Olejniczak (Radio Noise Duo) from Poland  - looking for inspiration in electricity, radio noise and amplified everyday objects. Earlier the musicians were associated with groups like kalEka (Misiak) or Monopium (Olejniczak), but they also had some solo projects. Radio Noise Duo is a part of Radio Noise Orchestra- still continuing initiative focused on radio noise in various artistic activities.
https://www.facebook.com/AntennaNonGrata
https://antennanongrata.bandcamp.com/

 
6) Aurora Engine – Flutter

'Flutter' is the title track from a suite of sonic works inspired by the artists' lived experience of Tourette's Syndrome, vocal and physical tics. Commissioned by the Scottish Mental Health Arts Festival 2024 these works for 4 voices (SAAT) and electronics blend spoken word, non verbal vocalisations, synths and song.

‘Flutter’ explores the constant interruption of Tourette’s to everyday life, through small sounds as well as the shame which can be experienced when experiencing tics. I
A collection of erratic, arhythmic voclisations are counterbalanced by soothing lullaby-esque humming, exploring both shame and empathy. Fragments of spoken word explore the complexities of this condition alongside public perception.  The work addresses the festival theme of Invisible, particularly considering masking in women (Tourette’s is often underdiagnosed in women, or symptoms are less noticeable whilst still being present)

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

 
7) Ralph Lewis - Dancing on the Airwaves Presents: Dick and Janes

“Dancing on the Airwaves Presents: Dick and Janes” is a radio broadcast audio commentary of Sara Hook’s dance work “Dick and Janes.” The often inept on-air host (Ralph Lewis) struggles and sometimes succeeds to communicate about Hook’s choreography, Lewis’s music, Kayt MacMaster’s dancing, and Mike Minarcek’s percussion-playing. (This radio work is a playful take on a years-long dance collaboration between Hook, Lewis, MacMaster, and Minarcek presented in this transmission art environment).

Dr. Ralph Lewis is a composer and music theorist who currently serves as Adjunct Instructor of Music Composition and Music Theory at Millikin University. His compositions seek meeting points between sonorous music and arresting noise, alternative tunings and timbre, and the roles of performer and audience. Lewis’s music has been presented at festivals and conferences including TENOR and ACMC (Australia), Convergence, the ARC Project, Radiophrenia Glasgow, and Sonic Cartography (the United Kingdom), Pärnu Days of Contemporary Music Festival (Estonia), ICMC/ISSTA ( Ireland), the Orpheus Institute (Belgium), Audio Rocket Festival (Japan), as well as numerous events in the United States.
http://www.ralphlewismusic.com
https://www.sarahookdances.com/

 
8) Chantal Francoeur - Requiem Ecolo

Sandpipers meet with an unexpected four wheels on the foreshore. Science, poetry and ecological sounds in the background. A poignant requiem.

Chantal Francoeur is an audio artist/researcher.
She teaches Journalism at UQAM, Universite du Quebec in Montreal.
She works and lives in Quebec, Canada.
https://chantalfrancoeur.com
https://soundcloud.com/user-630172892

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

Memory Dream Encounter 2 is a second collection of micro-commissions curated by Nichola Scrutton during her Night Vision project in 2023. The works are composed by (in programme order):

Clara de Asis - Compass
Go Sing – Casual Friday
Liew Niyomkarn – Third Place
Nichola Scrutton – Hues
Ryoko Akama - Sounding

The composers/sound artists were invited to respond freely in sound to an abstract, light play photograph, which was taken during Nichola’s 2023 residency at Tramway Glasgow.

Artist bio:
Nichola Scrutton is a composer and artist based in Glasgow, Scotland.

Website/social links
https://www.nicholascrutton.co.uk/
Instagram: @nic_scruttonTwitter/X: @NicholaScrutton
BC: https://nicholascrutton.bandcamp.com/
Spotify: https://open.spotify.com/artist/2bKegVEj2mTO0JlPDkE3qd (such it is)

An original ambient score accompanies the testimonies of those who lived through and campaigned for the repeal of the discriminatory Section 28 (or Clause 2A, as it was known in Scotland).

The interviewees reflect on this significant period of recent LGBTQ+ Scottish history and discuss their concerns for what may yet lie ahead.

Voices:
Alex Heatherington
Sue John
Val McDermid
Jim Mearns
Edwin Morgan
Martin Thain
Louise Welsh
Jim Whannel
Ross Whyte

Archival recordings of interviews with Val McDermid, Edwin Morgan, and Louise Welsh used with kind permission by OurStory Scotland.

Artist bio:
Ross Whyte, a Glasgow-based composer and sound artist, holds a PhD in Musical Composition focusing on impermanence in audio-visual intermedia. Collaborating across disciplines, he co-founded the duo WHYTE, known for modernising traditional Gaelic songs.

Website/social links
https://www.rosswhyte.com/
https://www.instagram.com/rosswhytemusic
https://www.facebook.com/rosswhytemusic
https://x.com/rosswhyte242
https://www.youtube.com/@RossWhyte

A reading with musical underscoring and sound effects of the Soviet writer Sigizmund Krizhizhanovsky's surreal 1926 short story "Quadraturin". When a pushy salesman appears in the cramped doorway of the beleaguered Sutulin and foists a strange paint-like substance on him, his apartment transforms into a nightmarish abyss. Artist bio: Lila Meretzky is a composer, educator, and visual artist born and raised in New York City. She works primarily in chamber, vocal, electronic, and electroacoustic mediums, as well as in music for dance, film, and installation. Her work is often concerned with (the warping of) memory and language, and subjective experiences of time. Lila’s music has been programmed and commissioned by leading ensembles and institutions, including Contemporaneous, TAK Ensemble, the MATA Festival, Sandbox Percussion, Unheard-of//Ensemble, icarus Quartet, and percussionist Ji Hye Jung. Lila is a current composer-in-residence with the Cincinnati-based new music collective New Downbeat. Website/social links lilameretzky.com Instagram: @lil.meretz

The devastating earthquake on December 6, 1988, destroyed the greatest part of the city of Gyumri in Armenia. With the Mush II District, a whole new living quarter was stomped out of the ground. Sturdy tenement buildings, a school, three supermarkets, a park with a varied fountain, a football arena, playing grounds and small garden patches, either in the yards or bordering on the overgrown meadows. When stopping by one of those gardens, I was spoken too and afterwards ‘kidnapped’ by two ladies (best friends and gardeners) and taken into the kitchen to drink coffee. English is overestimated as lingua franca once you travel east. I felt discombobulated and difficult. My translator-app worked for Russian only… which created much fun for Gina and Raja. I chose to submit this situation piece because its squeaky ambiguities are so well known to any field recording person/traveler. There is still much to learn.

Artist bio:
Gabi Schaffner works as a trans-disciplinary artist within the realms of radio art, composition and performance. Her artistic practice is inspired by the methods of poetic ethnography in connection with Fluxus-like mise-en-scènes, radio-making and sound art   performances.
Since 2012 she maintains “Datscha Radio”, a nomadic transmission project that links the medium of radio to ecological issues. Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. She lives (mostly) in Berlin.


Website/social links
https://www.instagram.com/gabi_schaffner
https://schaffnerin.net
https://datscharadio.de

1) Yve Lomax - Quer - ep 4: Examples showing themselves (9.51)
2) Yara Asmar - home is nowhere - gloomy madeleine (1:53)
3) Hoyong Lee - The White Book (9:06)
 
 
1) Yve Lomax - Quer ep 4: Examples showing themselves
 
Synopsis: Quer is a single voice spoken performance that moves through various modes of address, mixing the poetic, philosophical and the everyday. It is an experiment in how to say something and touches upon things considered pressing for living today. This includes: violence and the cry Why am I being hurt?; attentiveness, justice and ceasing to treat the Earth as a property to be owned; nonviolence and the magic of compassion; dissolving the distinction between ‘us’ and ‘them’; the question of belonging and how saying ‘I am queer’ up-ends it. Quer ends with the assertion that all of life is profoundly transverse and plays upon the old meaning of ‘quer’ as oblique, transverse.

Artist bio: Yve Lomax is a visual artist, writer and editor. She is currently a director of and editor for Copy Press publishers and its audio-visual platform Becoming Fireflies. Since the late 1970s she has exhibited nationally and internationally. Her first book of collected writings was published in 2000 under the title of Writing the Image. Recent publications: Here from There (a shared book with Vit Hopley, 2024); Nearness (2019); Figure, calling (2017); Pure Means (2014). Films/spoken performances include: Mad about justice (2022) and Political Life (2021).  Formally, she was a Senior Research Tutor at the Royal College of Art and Professor of Art Writing at Goldsmiths, University of London. Besides feminism, a longstanding concern has been writing for spoken performances.

Website/social links:
copypress.co.uk
 
2) Yara Asmar - home is nowhere - gloomy madeleine (1:53)
 
Yara is a musician and puppeteer based in Beirut, Lebanon. She incorporates accordion, metallophone and electronics in her live performances. In addition to her musical work, she has participated in exhibitions where she featured sound and video installations including ‘Sonatina for 19 Music Boxes’ (interactive sound installation), ’The Cut-Throat Finch Preludes’ (tape loop installation), ‘I Liked it Better When We Lived on See-Saw Hill’ (video installation) and ‘Lapses’ (interactive sound installation). Last year she released  ‘Mr. Samuel’s Teatime Stories for Good Kids and Confused Adults’ - A puppet film in four parts.

Website: https://yaraasmar.com/
Bandcamp: https://yaraasmar.bandcamp.com/album/stuttering-music
Instagram:  https://www.instagram.com/microwave.blues/

 
3) Hoyong Lee - The White Book

As reading creatures, we ingest words, and we are made of words. Especially, we may be explorers advancing through its pages, as well as the worms which devour the words and phrases in each page. In this context, this piece represents the invisible quest in wandering adrift which readers may virtually confronts inside the poetic short verses in Han Kang’s fiction 『The White Book』. Striving to create a surreal sonic world in which the real life and imaginary death coexist, this piece audibly considers the chain of metaphors that have described readers and their relationships to hidden text-that-is-the-world. Especially based on the gestures of hidden whispers in 『The White Book』, this piece auditory represents the resonating spaces which evokes the certain memories and ambiguous emotion as well as the infectiousness of fear and hybridity of tacit gestures in 『The White Book』.

Artist bio:
Hoyong Lee (Seoul, South Korea, Master of Music) is a composer, sound artist and essayist. His pieces have been presented at world-renowned electro-acoustic music conferences & festivals in USA, Europe, Canada over 15 countries. He was an Award of Distinction Winner in Matera Intermedia Festival 2016 in Italy and he was first -place winner in XRAY.FM Radio (Portland, USA) Storytelling Contest Prize (2017) as an experimental sound storyteller. Executing diverse intermedia projects, he published his compositional autobiography book "소리, 세상을 담다(2020)”, and he collaborated with Gwangju national science museum in Art-Science Festival in 2021.

Website/social links
https://open.spotify.com/artist/3BCnRplvhGzjA7yIBtk4Zr
https://www.youtube.com/@hoyonglee9191
https://soundcloud.com/hnext5

The work emerges as a collage of spectral remnants, weaving fragmented memories and sonic decay into a textured exploration of fragility and persistence. It navigates the temporal erosion of sound and memory, uncovering layers of meaning through glitch, plunderphonics, and drones.

Using obsolete media (minidisc's / CD), loops, and layered field recordings, Home Truths incorporates re-recorded WhatsApp voice messages—modern-day answer machine fragments degraded through repeated transfers onto minidisc. In some instances, these recordings underwent extensive processing, including guitar pedals and vocoders,  to craft the central sonic textures and motifs. Traditional musical elements—electric piano, guitars - were layered around this degraded archive of sound, creating harmonic interplay with the spectral echoes of friends, family and found radio recordings from the early 2000’s on minidisc. Special thanks to artist and friend Bel Gilbert Scott.
JW: acoustic & electric guitars, mini-disc players, CD players, electronics, field recordings, contact mics and objects.

Artist bio:

Jennifer Wicks is an interdisciplinary artist whose practice spans durational installations, audiovisual performances, sound art releases, and creative-critical writing. Her work interrogates memory, language, and states of being through experimental methods, emphasising light, time, and sound. Employing obsolete media, 16mm film, reappropriated materials, and custom light-to-sound instruments, she explores the materiality of sound and image. Using Media Archaeology and contemporary technologies, she treats them both as subjects of inquiry and as tools to critique the dominance of digital culture in shaping memory, perception, and our relationship with time.
Her solo live performances explore temporal dynamics, chance, and the mechanics of sound. Working at the intersection of industrial noise, sample culture, cut-up techniques, and expanded cinema, she addresses the limitations and possibilities of analogue film and sound systems. Using modified 16mm projectors, contact microphones, and multiple guitar effects pedals, she crafts immersive, textured, and dissonant audiovisual installations.

She has training in conventional music and holds an MLitt in Fine Art Practice (Glasgow School of Art) and an MSc in Sound Design and Audio-Visual Practice (University of Glasgow). She has received a Leverhulme-funded artist residency at Glasgow University (2011-2012) and was Artist in Residence at the University of Stirling (2022), working with the Norman McLaren archive. Her recent projects span international exhibitions and festivals. She makes music with WOMEN’S HOUR (Wicks and Contort Yourself head honcho Murray CY). LP released on L.I.E.S. Records, December 2023.

https://jenniferwicks.co.uk/

‘The Concrete Seed’ is an essayistic fiction that offers an idiosyncratic critique of the post-war British new town project, specifically in its relation to Scotland, and of top-down spatial planning more generally. Idiosyncratic, in that it presents a critique bound up in a satire that avoids didacticism in favour of an experimental approach combining a subjective voice with text and sound steeped in Scotch ostranenie. The narrative comprises a power struggle between the abstracted archetypes of Planner, Dwellers and New Town. "They envision objects given over to illegibility, cut through with desire lines and a hallucinatory organicism. Vertical and horizontal surfaces deliberately damaged to encourage rapid biofouling. Buildings that contract. Windows that sing. Occulting the cadastral gaze."   Voices: Tom Fergus Arnott, Judith Hagan, Jamie McNeill, Berta Escobar Ramos. Artist bio: Jamie McNeill is an artist from Glasgow. Website/social links https://www.instagram.com/f0g0u/ https://drive.google.com/file/d/1B3py4USz0QxV236CyvCU-h8HSlscqFZ7/view https://drive.google.com/drive/folders/1o-j1MD7sKLkN96_rzdoAxGzzdCUd60dV

1) Ensemble Ex Materia – Migration (6:13)
2) Arthur Deligne - A dream within a dream within a dream feat E.A. Poe (4:30)
3) Daria Baiocchi – Oz (10:00)
4) Gabriel Mininberg – Valentine (5:00)
 
 
1) Ensemble Ex Materia – Migration

Migration from their second EP features:
Tessa Brinckman - percussion
Jerome Descamps - trombone
Johanna Sandels - drone 1
Strotter Inst. -drone 2
Peter Vukmirovic Stevens - piano and arrangements

Peter Vukmirovic Stevens -
An artist in the classical crossover genre, Stevens‘ music intersects the spirit of punk rock into concert music and sound art.
He leads Ensemble Ex Materia.
Recordings are available on Caliban/One Little Independent, London and Arpaviva Recordings, Paris.
His visual art is exhibited across Europe and North America.
Gallery representation by Iconoclastes Galerie Vendôme, Paris.
https://ensembleexmateria.com/

 
2) Arthur Deligne - A dream within a dream within a dream feat E.A. Poe

One day in an editing workshop in 2022, I was given this voice, this poem of Edgar Allan Poe, and a few sounds to assemble as an exercice. From there, I completely went overboard and took it as an opportunity to venture far off in sound design, effects and textures. After multiple edits and mixes over two years, I saw Radiophrenia's open call as a sign of the universe to finally to settle down on one definitive version. This creation is an homage to E.A. Poe's poem "A Dream within a Dream". Falling from one level of hell to another, we follow our reciting hero through various universes, meeting all kinds of creatures. Each scene is a dream leading to another, until reality kicks in... Or maybe?

Credits:
Edgar Allan Poe - A Dream within a Dream
Unknown voice artist
The Beatles - I'm only sleeping
Sounds from Aporee.org

Arthur Deligne is a Belgian sound artist, a musician and radio documentary maker with a background in journalism. From Charleroi to New-York, Arthur has been involved in various productions as author, producer, musician, editor and mixer. He is now aiming on creating musical and sound universes based on sensory and emotional experience.
https://www.instagram.com/arthurdeligne/

 
3) Daria Baiocchi – Oz
 
The main idea behind this work was to create a non-existent Galaxy based on soundscapes that would characterize different planets or stars. The starting point was to sample sounds that could distinctively characterize the sonic matter in various ways. All the sampled sounds has been electronically manipulated. In "De revolutionibus orbium coelestium" (1543), Copernicus discusses the shape of the world and the precise symmetry of its parts and its harmonious perfection. This idea, when applied to harmony, identifies the relationship between what we call the fundamental note and its dominant, which is the fifth. This sound galaxy has a symmetry in microstructure and macrostructure and it is divided into an introduction, six sound planets, and a coda.

Daria Baiocchi achieved an MA in Piano, an MA in Classical Composition and an MA in Electroacoustic Music. She also owns a degree in“Classical Literature” from the University of Bologna. She’s actually main Professor of Harmony and Music Analysis in Fermo Conservatory of Music, Sound
Design Professor in Macerata Academy of Fine Arts and in Qu Fu Normal University (China).
https://www.linkedin.com/in/dariabaiocchi/


4) Gabriel Mininberg – Valentine

Valentine (2022); Original electronic composition featuring sampled nature sounds, spoken word, synthesizers, saxophone. Composition, production, saxophone, and spoken word by Gabriel Mininberg; text by Mehak Sarang.

Valentine satirically explores our quest to find love, the ways in which we publicize and memorialize it, and the self-importance and posturing implicit therein.

Puerto Rican saxophonist and composer Gabriel Mininberg is inspired by outer space, short stories, and sculpture. His music explores world rhythms, film-inspired harmonies, and experiments with new presentations of music through multimedia performance. Recent recorded work includes "Carta de Amor," a multimedia triptych for mixed chamber ensemble, sound-interactive video installation, and reverberant water tank. Other works include "Double Quartet," a sonata-length multimedia work for string quartet and jazz quartet, and "Valentine," for electronics, spoken word, and saxophone. He currently tours internationally with his jazz quintet, Daruma. Gabriel studied music at Yale University and grew up in Mexico, Venezuela, and Guatemala.
https://gabrielmininberg.com/

5) Alireza Seyedi - Percentile 10th (7:10)
6) Brodie Ainsworth - The Dissassociate (11:00)
7) Vera Resnick - Calls in the Storm (9:50)
8) Marie Koppel – Menschensteine (3:44)
 
 
5) Alireza Seyedi - Percentile 10th

The piece began with a single, evocative word: "Scale". For several days, I intensified the ambient sounds around me through headphones, creating a sonic microscope that magnified even the most mundane of noises. The simple act of a bird flapping its wings became a source of intense anxiety, and the chirping of sparrows outside my window became gratingly unpleasant. The foundational material for this composition was exclusively derived from field recordings of my immediate environment, subjected to numerous layers of synthetic processing. While I initially found common ground with Pierre Schaeffer and the classical musique concrète movement, my artistic trajectory diverged from their foundational principles. My primary compositional focus was on granular synthesis. I began by working with large-scale sound structures, gradually decomposing them into increasingly minute granular components. This process of sonic reduction allowed me to explore the microscopic textures and temporal nuances inherent within the original recordings.

Alireza Seyedi was born in 2001 and belongs to the new generation of contemporary music in Iran. Traces of traditional music and the music of the regions of Iran that have been dissolved in the context of contemporary music can be traced in his works. This presence is sometimes clear and tangible and sometimes abstract and deeper. The influence of electronic music has always been clear in his works. Whether it was when electronics were present or when it was simply inspired by that music composition culture. He is music student in Tehran whose work has been featured at various festivals like Mixtur Barcelona, Spectro New Music Center Competition, Alfred Schnittke International Composition Competition in Lviv, Horizon Etendu Composition Academy scholarship, Roadrunner Trio Academy 2024, International computer music conference (ICMC) etc. Seyedi's music is a captivating fusion of tradition and modernity, reflecting his rich cultural heritage and artistic exploration. His artistic practice involves a deep exploration of sound, technology and cultural identity.

 
6) Brodie Ainsworth - The Dissassociate

The Disassociate by Brodie Ainsworth is a sound collage made during the composer's senior year of high school. The most consistent materials used throughout are a (typically reversed) audio of Erik Satie's Gnossiennes and a reading of a text by the composer, titled Dialogue One: Aromantics in the Park. The text is stylistically informed by writings by John Cage, such as Silence and M. The Disassociate also makes use of several hallmarks of the composer's electronic work, including disorienting panning changes and usage of crowd ambience. The piece showcases many episodes meant to demonstrate the feeling of panic in crowded spaces. The first main episode occurs while crowd ambience of an airport is played, and the second when the reversed audio of a hiogh school band playing a Sousa March, which follows audio of a marching band.

Brodie Ainsworth is a freshman at the Crane School of Music in SUNY Potsdam, NY, USA. He is pursuing a bachelors in composition. He lives in Corning, NY. Ainsworth is also a percussionist. He has had experience in competitive ensembles such as the Corning Painted-Post Competition Band, which has competed nationally in the US, and that town's Indoor Drumline. He has also marched internationally in parades such as the Ireland 2022 Saint Patrick's Day Parade, with the Corning Painted-Post Marching Band. He plans to compose for video games. He prioritizes eclecticism as a musical and compositional value.
https://www.instagram.com/verybluebrognie/
https://el-rombo.tumblr.com/

 
7) Vera Resnick - Calls in the Storm

Calls in the storm was developed using Ableton Live, sound from NASA, sounds from the BBC archives, Morse code, electronic noise and more.  It is an attempt to orchestrate nature.

Composer and songwriter/singer.  Involvement in music from an early age, return to school at age 60 for a 3-year full time program of music studies.  Focusing on electroacoustic music, and on ways to use software, samples, vocals and more, to craft broad and varied means for self-expression.  Currently exploring combinations of electronic noise, samples from nature and the world in general, vocals and text.

 
8) Marie Koppel – Menschensteine

At the Zentralfriedhof in Münster, Germany, there is a place where all the old gravestones go. They lie there, tipped over in a pile, waiting for their next form of existence. The old gravestones are turned into gravel for road construction. I got this fact from a cemetery worker, and I made a piece around it. The idea it represents is that what was once sacred becomes functional. Stone becomes rubble. Menschensteine shreds the stones and turns them into rhythm. The piece is built around this rhythm of the stones, with the speech entering rhythmically as well. The sentences and words are also shredded and reformed, taking on an almost incantatory nature, in which the ritual resonates.

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

Five women artists living in Brussels; all raised in several languages; each one from a different cultural background. They tell, in their mother tongue, a vital moment, an intense sensorial experience, that left a physical imprint. One of them is not telling the truth though. How to transmit thoses experiences only through language when their words are translated, albeit ‘properly’ by another woman?    Qualia questions the body/mind problem, the impossibility of sharing with others the exact perception of a color, of the temperature of a hand or the taste of wine. Qualia questions the use of sound in storytelling, it’s power to reach the subconscious, it’s power to provoke physical reactions and to trigger mental images. Do you see what I mean?    Credits:    Voice and texts : Kitty Crowther, Zahava Seewald, Meryam Bayram, Sonia Pastecchia, Charo Calvo. Translation and english voice: Caroline Daish Recordings: Charo Calvo, Bastien Hidalgo Mastering: Bastien Hidalgo Studio : Acsr and author’s studio. Produced by ABC Soundproof Australia, with support of ACSR Belgium and FACR de la Fédération Wallonie-Bruxelles.

It was a winter day in Madrid. I took the express train “Puerta del Sol” to Brussels. At that time, Hendeva was the last station for our trains. The Spanish tracks and the French tracks were not the same width. A little defensive measure taken by Franco’s government. We got out of the train, suitcase in one hand, the other gripping our passport. In the middle of the night we crossed this space, open to the sky, fenced in with barbed wire, ‘tierra de nadie’ (“no man’s land”). On the other side, was waiting for me at least 26 years of another life and I thought that I could already make it out. That day, I was only 26. But before that day, there had been other days, thousands of days, that I can still hear…
 
Phonobiographie #1 , 17 min Creative documentary by Charo Calvo Produced by ACSR, Brussels 

Commissioned by Taigh Chearsabhagh Museum and Arts Centre, Orasaigh is an acousmatic setting of Steve Ely’s eponymous poem, inspired by the landscape surrounding the tidal island of Orasaigh, located off the coast of South Uist, in the Western Isles of Scotland. Ely’s visionary poem, while firmly grounded on the island, explores a wide range of themes, including sea level rise, the 'sixth extinction' crisis, history, culture, politics, conflict, and class.

As with Ely’s poem, the composition is rooted in the landscape through the presence of soundscape compositions, utilising immersive field recordings captured on location. Elsewhere, material for clarinet and highland bagpipes, along with creative reimagining of archival sound recordings from Uist, draws upon the Isles' rich musical heritage through Gaelic song and pibroch (an art music genre associated with the great Highland Bagpipe).

Artist bio:
Steve Ely is a celebrated poet known for his exploration of history, landscape, and identity. His poetry collections include Lectio Violant and The European Eel (2021). A founding member of the Ted Hughes Project, Ely is Senior Lecturer at the University of Huddersfield, where he supervises postgraduate students in creative writing and poetry.

Duncan MacLeod is an award-winning composer and sound artist whose work spans concert music, participatory arts, and interdisciplinary practice. Drawing on art, folklore, and socio-political issues, his work has been commissioned and performed internationally. He is Associate Professor in Music Composition at the University of Nottingham and a researcher at the Glasgow School of Art.

Website/social links
Steve Ely: https://pure.hud.ac.uk/en/persons/stephen-ely
Duncan MacLeod: http://duncanmacleod.org/

Duncan's socials @Leod_Music (on Instagram and X); Soundcloud: https://soundcloud.com/duncan-macleod

Link to photos from the project (copyright Mike Faint): https://www.ansolasoir.com/orasaigh

Hello there, dear being. Are you perhaps on the other side already? Today we will reflect upon how death is one of very few constant, inevitable events in life. How we, humans and more-than humans, deal with this fact, how we deal with the process of dying and how we organize everything that comes after someone has died.
We will see what physical places we have reserved, in our increasingly dense cities, for the dead.Can you listen when you are dead -and what sounds do you hear?
Welcome to PUBLIC RETREAT Radio - today we will talk, listen and think about death.
A 12 episode long series of thought-provoking radio shows at radiOrakel (NO) that explores the intricate relationship between city, sound, and public space.
Through situated radio and soundworks, containing field recordings, poems, micro narratives, speculative future forecasts, bird monologues, + more, PUBLIC RETREAT reflects on these pressing questions.

Artist bio:
PUBLIC RETREAT is an interdisciplinary art project exploring our human, and more-than-human, common auditory worlds. Led by sound artist Nicole Cecilie Bitsch Pedersen (DK), visual artist Jo Mikkel Sjaastad Huse(NO), architect Johanna Fager(SE).
Currently: artistic research at Platform Stockholm (SE), solo exhibition at the Färgfabriken Architecture Triennale (SE), radio residency at radiOrakel (NO).
Earlier: situated meditative sound/radiowork + manuscript and performance for SPARK Malmö (SE), immersive sound/text/radio solo exhibition in Helsinki (FI) at Gallery Oksasenkatu 11, Nya Lövholmen Magazine.
Future: publication release and exhibition at Färgfabriken+Platform in January, symposium at Sound Art Lab (DK) and soundwork on Radio Sydväst (SE).

Website/social links
http://www.public-retreat.com
soundcloud.com/public_retreat
http://www.instagram.com/public_retreat/
linktr.ee/public_retreat
https://issuu.com/public_retreat
https://soundcloud.com/loevholmen-ljud
https://linktr.ee/nyalovholmen
https://issuu.com/nyalovholmenmagazine


'This little' is a live 20-minute vocal performance made for broadcast, sitting between storytelling and vocal improvisation. The narrator of 'This little' attempts to share a personal anecdote about a recent trip to an unfamiliar supermarket. 

   As the story gets caught up in minor details and minute interactions within the scene, the voice begins to fray the edges of its words through semantic failures, erupting with nonsensical riffs, and recasting the sound of words in the mouth. 

   'This little' pushes the affective capacities of a voice at a distance: at the end of the dial, and at the edge of meaning. Using the detached intimacy of a single microphone, much like a supermarket tannoy announcement, this live-to-air performance pursues a connection with the audience through humour and frustration, seeking its dénouement in the overlap of speech, song and silly little noises. 
 
 Artist bio: Lydia Davies is a Glasgow-based artist and writer working across moving image, sound, performance and bookmaking. Her practice is preoccupied with interpersonal dynamics, bodily gestures, and the shifting registers of voice and narration. Her work draws attention to the ways in which selves are both sustained and undone through their relations. 

Recent projects: 'The glass with the fingers dipped in', solo exhibition and performance, Fruitmarket (February 2025); 'LOVE STORIES', duo exhibition with Edward Gwyn Jones, Glasgow Project Room (2024); 'This one’s for the', radio broadcast and listening party performance, David Dale Gallery (2023). 

   lydiadavies.co.uk 
 @lydiaacdavies

1) Yara Asmar - it's today again (sung by gloomy madeleine) (1:38)
2) Anne Lepére - RAPOSA (8:56)
3) Len Goatzee - Magical Pony (7:02)
4) Carlo Patrão - Kaizen (5:21)
 
1) Yara Asmar - it's today again (sung by gloomy madeleine) (1:38)
 
2) Anne Lepére - RAPOSA (8:56)
 
3) Len Goatzee - Magical Pony (7:02)

 
4) Carlo Patrão - Kaizen

Kaizen is a radiophonic sound collage of North American "tech speak" and "corporate jargon" that overuses the Japanese term Kaizen, meaning continuous improvement, as a form of control and shield against listening, responsibility, and reparation.

Artist bio:
Carlo Patrão is a Portuguese radio artist and researcher based in NY.

Website/social links
radiooo.bandcamp.com
zepelimradio.com
 

Tape letters between two friends, one living in a blanket fort, the other in a house of paper, and both deeming each other’s homes unsound, can’t seem to agree on who should visit the other. So instead, one of them builds a house they can meet in, out of the safest material: Noise.

Biography:

Yara is a musician and puppeteer based in Beirut, Lebanon. She incorporates accordion, metallophone and electronics in her live performances. In addition to her musical work, she has participated in exhibitions where she featured sound and video installations including ‘Sonatina for 19 Music Boxes’ (interactive sound installation), ’The Cut-Throat Finch Preludes’ (tape loop installation), ‘I Liked it Better When We Lived on See-Saw Hill’ (video installation) and ‘Lapses’ (interactive sound installation). Last year she released  ‘Mr. Samuel’s Teatime Stories for Good Kids and Confused Adults’ - A puppet film in four parts.


Links:

Website: https://yaraasmar.com/

Bandcamp: https://yaraasmar.bandcamp.com/album/stuttering-music

Instagram:  https://www.instagram.com/microwave.blues/

Related video:

https://www.youtube.com/watch?v=BhLch7CdWAU

The piece ‘Tobraichean mo Sinnsearan’ is a layered Gaidhlig soundscape weaving memory and place, anchored in the voice of my great grandfather ‘Tuam Ross’ (1876-1960). The piece is derived from field recordings taken by my Great Uncle and Great Aunt (James and Anne Ross) for ‘The Scottish School of Studies’ aural archive in 1957. In the field recordings they interview ‘Tuam’ on the uses and behaviours of the different wells and springs of his local area (Fàsach, Glendale) on the Isle of Skye. Some wells would dry up or get warm in the summer, while others would stay freezing cold at all times of year. There are some wells which are known to have healing properties. There is one he would visit to get water for his sisters or brothers when they were sick. His aged voice carries stories of water, earth, and tradition—of wells that served not just as lifelines, but as spiritual landmarks in the community. These transcripts are layered with contemporary field recordings I’ve taken at ‘Loch Shianta’- a health spring on the Isle of Skye located close to where my family was from.   Cashlin is a Gaelic-speaking artist and experimental musician. Her work explores themes related to ecology and often investigates capitalism's relationship with nature and the human psyche. She enjoys examining subjects from different perspectives—ranging from the micro to the macro. She plays with time and the viewer's subjective understanding of space to reveal hidden perspectives and create illusions.

"Der lange Atem" is a sound art and research project focused on “celebration” and “hero organs,” instruments used as sonic monuments during the Nazi era. Built between the 1920s and 1940s in Germany and Austria, these organs were often dedicated to the victims of WWI or featured in National Socialist ceremonies. Many were installed in churches, Nazi festival halls, or secular spaces like schools. Only a handful of these instruments remain today.

The 15-minute sound piece explores three of the remaining organs through on-site recordings of their sound, acoustic environment, and the organists playing them. It also includes excerpts from a 1985 SWR radio program dedicated to organs from the Nazi era.

Artist bio:
*1982 in Innsbruck/Austria. Lives and works in Vienna. Lucas Norers works are characterised by an interdisciplinary approach and refer to auditory contents such as production and consumption of music, sound, noise, silence and its relation to social, political, architectural and artistic issues. As part of an extended research and manufacturing process he creates audio-visual installations, objects and projects in the public realm. In 2011 Norer graduated from The University of Art & Design Linz. Since then he has shown his work in gallery spaces, contemporary art museums and festivals.

Website/social links
https://lucasnorer.com

Dr Evgen Bavčar has a special ritual. For over 40 years, he has been recording the nightingale singing on May nights in his hometown of Lokavec. Under the nocturnal cloak, in duet and in collaboration with the nightingale, the story unfolds into a narrative of the nightingales' blinding so they shall sing in perpetuity – a reflection on blindness as social castration, on existential proximities and distances, the position of the blind throughout time and the question: why should the pleasure of the night not be equal to the pleasure of the day? The work innovatively utilizes sound not only as a vital stimulus for blind people, but also for narrating time, duration, space, the essence of the moment, and human coexistence. In documentary, sound conjures various emotions of the protagonist and expands the listeners perception of temporal spatial coordinates of life.

Artist bio:

Saška Rakef, a playwright and director (Ars), Mojca Delač, a journalist and radio host (Prvi), and Luka Hvalc, a journalist and editor (Val202), are all actively involved in a variety of domestic and international projects, spanning different genres of radio production (Radio Slovenia). Known for their creativity and commitment to exploring innovative approaches to engage audiences, they continuously push the boundaries of the medium. This documentary marks their first collaborative endeavor and  is unique in that it represents an experimental cohesion of storytelling for all three various radio programs and their audiences.

Website/social links
http://www.val202.rtvslo.si
http://www.prvi.rtvslo.si
http://www.ars.rtvslo.si

A river of sonic events, allowing time for slow transitions, non-regimented radio programming – just another utopia? For decades Ö1 Kunstradio has made such a format possible, 54 minutes of sonic flow with none of the unbearable chatter in between, no strictly imposed format. 54 lets time flow, 54 minutes of sonic flux. And sprinkled into the mix, roses for Ö1 Kunstradio and memories that float to the surface intermittently. (Elisabeth Schimana)   Sound material from Elisabeth Schimana's archive Sound engineering: Elmar Peinelt     Flowing time     Sometimes it feels like time is standing still, other times time is passing by at breakneck speed. The feeling of time is influenced by many factors.   In her new radio art work, Austrian composer and artistic director of IMA - Institute of Media Archaeology, Elisabeth Schimana, explores the flow of time. In "54 - a tribute to flowing time," the artist allows a flow of acoustic events to emerge. Schimana takes her time for slow transitions and starts from an almost utopian radio. A radio that is not clocked through, but is instead an acoustic flow for 54 minutes without intermediate moderations and without format constraints, as can always occur in Ö1 Kunstradio.    Elisabeth Schimana has been a companion and cooperation partner of Ö1 Kunstradio for decades. Schimana explores the space of radio in many different ways. The first collaboration took place in 1991, when ten radio pieces by Austrian composers and artists, including Schimana, made an important contribution to ARTSAT. Initiated by media artist Richard Kriesche, the ARTSAT project was the first official art project on the MIR space station, which orbited the Earth from 1986 until its controlled crash in 2001. In the course of the more than 30-year collaboration between Schimana and Ö1 Kunstradio, many pre-produced radio works were created, including 2021's "Fugen - fragmentarisch vernetzt in 13 Bildern" (Fugues - fragmentary networked in 13 images), which was based on the Idoru (Bridge) trilogy by William Gibson, or 2022's "Die Bilder einer Ausstellung" (The images of an exhibition) on the exhibition "DigiDic - Aufruf zur digitalen Selbstverteidigung" (DigiDic - Call for digital self-defense) put together by IMA. For this, the exhibited objects were transferred into an acoustic walk-through.    Schimana was involved in art radio projects worldwide with live contributions. These were not only on air on the radio, but already at the beginning of the World Wide Web they could be experienced on line and they manifested themselves on site. In 1996, for example, the artist organized the project "The Fugue" as part of the international radio and Internet project "Rivers & Bridges" with performances, installations, concerts and events at over 25 locations and with the participation of over 20 radio stations in Europe and overseas.   At the border between Austria and Slovakia, "The Fugue" by Elisabeth Schimana, where the March flows into the Danube, was performed live on a ship as well as on the radio and the Internet. Four musicians played a composition and received instructions from four conductors or artists via the Internet.   Elisabeth Schimana incorporates some of the joint radio moments with Ö1 Kunstradio into the acoustic radio river "54 - a homage to flowing time". (Text: Elisabeth Zimmermann)

Derrière les dunes is a documentary that questions love and sexuality by guiding the listener through open-air meeting places threatened with extinction. These rumoured meeting places exist just about everywhere, frequented exclusively by those who know what they are looking for: the fulfilment of a fantasy, the meeting of sexual partners, the excitement of the forbidden... The two characters in the documentary have frequented these cruising grounds together to explore their desires and build their love. They hit it off immediately. Together they defend a queer culture written in the furrows left by the coming and going of bodies in these open-air cruising grounds. Behind the dunes, skin heats up, bodies are lost and desires grow. Behind the dunes a culture is passed on, a heritage is eroded and a love is cemented. Behind the dunes, they show us the places where people cruise in silence.

Artist bio:
Born in 1990, Nils Loret lives and works in Paris. A jack-of-all-trades, he has worked in the social sciences, cultural programming, communications, political events, bartending and many other areas. He has also tried his hand at graphic design, theatre and performance. But it was by chance that he picked up a microphone in 2020. It was a revelation. All those years of dreaming about radio on the back seat of the car, letting the sound images fill his head with a thousand emotions, finally made sense. He trained as much as possible with professionals in sound creation and production, and

Website/social links
https://soundcloud.com/cocotte-nils
Instagram : @cocotteisindaplace

1) Camilla Hannan - It won't be like this all the time (14:58)
2) The Argent Grub  - Three Way Conversation (22:03)

1) Camilla Hannan - It won't be like this all the time

It won't be like this all the time was made after the COVID 19 pandemic had settled down and the world went back to 'normal' This is a work about grief, loss and the existential feelings I had when I realised that the world didn't appear to change for the better after what we all went through together.

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.

website: camillahannan.com
Instagram: @camillahannan

 
2) The Argent Grub - Three Way Conversation

Three Way Conversation takes a conventional radio interview, separates out the audio of each speaker and aligns them end to end, rather than
combined as you would usually do for radio.

If radio is a medium for transmitting ideas, interviews are a key method to do that.

As a listener you are privy to that conversation but not part of it. You may talk back to the radio, but no-one in the radio will hear you. You’re not given space.

Breaking up the conversation raises a problem for radio. Silence (which I’ve filled with a recording from the Mary Cairncross Scenic
Reserve, Australia recorded via the Locus Sonus soundmap in 2021).

But for the listener this is an opportunity.

I hope to encourage people to take time, to stop, to give attention to listening, and enjoy the space and I guess that’s the idea I’m trying to transmit.

 
David Carpenter has been making music and sound as The Argent Grub since 2020.
His first release Listen Up sound tracked the speeches of Greta Thunberg, and featured on As if… radio during the Cop26 in Glasgow. Radiophrenia played Ardrossan from the first Field Recordings Album the same year.
A sound art project, A Sense Of Place, has brought listening experiences to audiences in the Bradford district in recent years, and David supports and is supported by the Bradford Sound Artist group.
Field Recordings For is in production and should be released later in the year.
https://theargentgrub.co.uk/
https://www.twitter.com/theargentgrub
https://instagram.com/theargentgrub
https://www.facebook.com/theargentgrub
https://theargentgrub.bandcamp.com/

3) Jamie Lee - Circuits from Soft Frequencies (20:00)
4) Dr. Quinn, Medicine Woman - Modern Life- Pitted Organic Dates (0:50)
 
 
3) Jamie Lee - Circuits from Soft Frequencies

Circuits from Soft Frequencies is a sound piece and art installation that examines the materiality of sound and how it affects bodies, things and spaces. The work was produced and first presented in 2023 at Open School East and has since been shown at MK Calling (2024) MK Gallery, Milton Keynes, and will be released on record label Mortality Tables in November 2024.

The piece originated as samples from devices used to organise time in different cultural spaces, for example the clock, bell and gong. Samples were then collected during fieldwork to sites featuring huge, concrete ‘sound mirrors’, an archaic technology designed to sense the sonic vibrations of aircraft in wartime before the invention of radar. The composition is based on the terrains encountered when searching for these momentous objects, with each track representing a different place or time.

Jamie's practice is site specific and process driven, often working with field recording, found text and montage practices. His work investigates the materiality of sound and its relationship with site, using different recording mediums to sense and track movement. His recent projects explore the affects of unseen forces on bodies and objects, resulting in interactive installations featuring soundscapes and moving images. Recent selected projects include Circuits from Soft Frequencies (2023), completed at Open School East and exhibited at Milton Keynes Gallery (2024). Jamie was recently awarded WEVAA funding to support a field recording residency at Aq_Tushetii in Georgia.

jamieleeartist.com
@jamie_laurence_lee
vimeo.com/jamieleeartist

 
4) Dr. Quinn, Medicine Woman - Modern Life- Pitted Organic Dates

From Picking Trash to Save the Planet  - a spoken word and music concept EP(3-INCH CD) about the struggle between modern life and mother nature.

Dr. Quinn, Medicine Woman is the unfortunately-titled solo project of Ryan Kuehn(Dead Peasant Insurance, Thursday Club, Hot Air Balloon Ride). Hailing from the musically-thriving city of Cleveland, Ohio in the USA, he has released over 50 solo albums of varying styles in the past 20 or so years, mostly on cassette and CD-R. While more often than not an outsider Synthesizer project, there are some albums that stretch out to other areas- just this year alone he has recorded a gong album, as well as his first parody album and spoken word EP! 😢 🎶

http://www.drquinnmedicinewoman.bandcamp.com
http://www.thursday-club.net
http://www.youtube.com/megasupernoise
http://www.youtube.com/balloonytunes

Long form feature composed of lo-fi field recordings capturing the sounds and atmosphere of Cameron Toll shopping centre in South Edinburgh. European shopping centre of the year 1985. Arranged and edited in GarageBand with a few crass effects thrown into the mix. Artist bio:   Lo-fi experimental field recording enthusiast from the Scottish central belt. Tracks mainly built around one take Iphone voice recordings. Everyday sounds of the streets, buses, random pub conversations and noise. Borderline sound art.

The piece is divided in 3 parts:
1. Ñaka Ñaka -  Ké Huelga Radio (0:00-36:04)
I picked up on anti-imperialist pirate station Ké Huelga Radio on my drive to work and recorded the entire commute.
2. Jero Route 66 and John Friberg - Pt 2 (36:04-43:14)
Recorded in Mexico City, 2024.
3. Jero Route 66 and John Friberg- Pt 1 (43:14-51:13)
Recorded in Mexico City, 2024.

Artist bio:
Jeronimo Jimenez is an artist based in Mexico City. He performs as Ñaka Ñaka and Jero Route 66.
John Friberg is an artist based in Providence, RI.  He is a member of the band Shots.

Website/social links
https://x.com/N4K4N4K4

The piece is divided in 3 parts:
1. Ñaka Ñaka -  Ké Huelga Radio (0:00-36:04)
I picked up on anti-imperialist pirate station Ké Huelga Radio on my drive to work and recorded the entire commute.
2. Jero Route 66 and John Friberg - Pt 2 (36:04-43:14)
Recorded in Mexico City, 2024.
3. Jero Route 66 and John Friberg- Pt 1 (43:14-51:13)
Recorded in Mexico City, 2024.

Artist bio:
Jeronimo Jimenez is an artist based in Mexico City. He performs as Ñaka Ñaka and Jero Route 66.
John Friberg is an artist based in Providence, RI.  He is a member of the band Shots.

Website/social links
https://x.com/N4K4N4K4