Wed 09

Improvised drone soundscape duet. Recorded in Glasgow, April 2024 Artist bio: M. Elizabeth Scott is a poet and esotericist living in Glasgow. Soojin Chang is a Korean-American non-binary multidisciplinary artist and researcher based in Glasgow. Using technology to transmute in/visibility, Chang's ritual experiments convene intimacies in energetics. Their research spans multispecies consciousness, the Divine, birth/death continuums, and technological visions of immortality.

Spiraal is a collaborative performance led by Mariam Morshed (US, IR) with Chris Smith (UK) drawing upon the paranormal, OSTs, field recordings, discordant melodies and restless dreams. Shifting sounds and structures, eerie nuances, all as a red sun labelled “record” blazes to life. This piece was performed in July 2023 at IKLECTIK supporting dj lostboi. Live electronic synthesis, humming harmonisations, and field recordings from horror films and video games from our respective childhoods interweave each other in a roaring soundscape. Tension and release are of utmost focus, as each signals the beginning of a new hauntological study. Together, the work aims to merge two contrasting philosophical and artistic approaches to ultimately arrive at a new interpretation on what it means to share a collective nostalgia. Artist bio: Mariam is an Iranian American sound artist and music researcher based in London. Her compositions take the form of dissonant soundscapes, noisy polyrhythmic loops and generative sound collages. Sampling and found sounds are at the core of every piece, referencing the ontological worlds of her favourite forms of source material – early video game music, classic horror film soundtracks, choir practice field recordings, traditional music from rural Iran. Her sonic installations are often conceptual and spatial, reflecting on various states of listening and psychoacoustic engagements with sonic bodies. Website/social links mariammorshed.carrd.co @mari.obj

"Water Line" is a generative audio piece by Absolute Value of Noise and Anna Friz that imagines the space between the tides and between salt and fresh water - depending on the height of the tides, the listener is above or below the water surface. The lapping of mussels, the crawling and loud hissing of crabs, the pawing of sand fleas, the slow movements of shellfish. Real environmental sounds are mixed with compositional interpretations of bodies of water and their environment, from kelp forests and flood zones to mud flats and marshy areas, from flood plains to rocky coves.

The piece was originally commissioned by Deutschlandfunk Kultur and Ö1 Kunstradio for the annual project KONTINUUM. It ran from April 2023 to June 2024 as an ongoing 1 year+ generative radio work.

Artist bio:
Anna Friz and Absolute Value of Noise (Peter Courtemanche) are Canadian sound and radio artists. Anna Friz creates self-reflexive radio for broadcast, installation and performance. Her compositions reflect upon public media culture, environment and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and speculative fiction. Absolute Value of Noise creates radio and outdoor installations. He likes to work with "gadgetry" - custom turntables, wire coils, high voltage ionizers, magnetic transceivers, bio-electric circuits, and "little electronic brains" that observe and respond to local phenomena. His outdoor works are a comment on bio-diversity, extinction, and fragility.

Website/social links
http://absolutevalueofnoise.ca/
http://nicelittlestatic.com/

This piece is the result of blind cooperation of sorts; few limitations were set regarding the length of the recording, what should be used and what should not be used; subsequently, individual recordings were mixed where each track was lightly panned, left or right. Unplanned interplay began to appear. All sounds by Turmeric Acid and uœrhe

I met someone in London this year who seemed embarrassed that he was doing 'bits and pieces', rather than an established career. I love doing bits. Here are some of them.
The backbone of the piece is an unedited recording from Ta Van village in northern Vietnam. I was struck by how well the dog was keeping time. This is overlaid with various other aural memories from the past two years, including squelching through a swamp in Finland, the rumbling of trains through Germany, cafe chat in Hanoi, Warsaw and Valencia, and a chorus of cicadas as I walked through the latter. Regular life also features via a barbecue, the Langside Road bird choir, wrapping a customer's belongings for a house move and working on a short film with friends.

Artist bio:
Craig is a former journalist based in Glasgow, who now spends his time doing bits and pieces of many things, including furniture removals, organic gardening, acting (mainly background), foraging, writing, and making things like this. His monthly Hazy Memories show on Radio Buena Vida combines drone, soundscapes, spoken word, field recordings and beatless ambient music.

Website/social links
https://soundcloud.com/search?q=hazy%20memories%20w/koala%20craig
https://www.instagram.com/koala.craig/

1 Hoyong Lee - The White Book (9:06)
2 Megan Hattie Stahl - Audio Postcard #2 (8:19)
3 Cecilia Assalini – Communication (10:24)

1) 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. In particular, this is an aural representation of a resonant space that evokes certain memories, ambiguous emotions, the contagiousness of fear based on the hidden tacit gestures in『The White Book』.

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

2) Megan Hattie Stahl - Audio Postcard #2

An experimental sound collage combining recordings made and collected during the first eight months of 2024. Performed and overheard music, interviews, a voice memo about historical and geographical distance, and iPhone field recordings of New York, Oregon, California and Berlin.

Megan Hattie Stahl is a media artist and educator based in Brooklyn. She uses audio and new media to produce sound art, documentaries and place-based experiences, often investigating musical histories, realities and possibilities. Her work incorporates archives, social practice, psychogeography, interviewing, and music theory. Megan’s practice is informed by past lives as a DIY filmmaker, jazz pianist, French preschool teacher, community radio host and standup comedian. She is an MFA candidate in Integrated Media Arts at Hunter College, and was a 2022-23 Social Practice CUNY Actionist Fellow, a Mellon Foundation-funded initiative for socially-engaged artists.
http://www.meganhattiestahl.com
@megan__hattie (Instagram)

3) Cecilia Assalini – Communication

We immerse ourselves in the perception of communication throughout time—a timeless experience within a social and cultural context. We perceive what is doomed to disappear, that which cannot, and perhaps should not, be preserved.

Cecilia Assalini was born in Buenos Aires, Argentina. Composer and Sound Artist. She started developing her musical skills at an early age, beginning with the piano and now working with the cello. She graduated from the National School of Experimentation and Filmmaking (ENERC - Escuela Nacional de Experimentación y Realización Cinematográfica) and Musical Composition at the National Arts University in Buenos Aires - Argentina.
Since 2012 she has been working on Films, TV, Advertising and Animation projects making original music, experimental sounds, ambience & sound FX edition and Re- recording Mixer.
https://soundcloud.com/ceassalini

4 Valerio Galadini - anamnesi, session #1 (8:37)
5 SOAK LAB – Conduits (5:46)
6 Whadat XP - B15 (Inner informations) (15:50)
 
 
4) Valerio Galadini - anamnesi, session #1

In “anamnesi, session #1”, dialogues (in Italian language) reminiscent of radio theatre create a compelling narrative set within a therapist's office on a rainy evening. Sounds of rain on glass, a cuckoo clock, and soothing music blend with the rhythmic tick of a pendulum metronome, forming a tranquil yet evocative atmosphere. The narrative follows a therapy session with a patient who can neither speak nor move, only able to communicate through blinking. The therapist uses an alphabet ordered by frequency to aid communication, with the patient replying to the therapist's questions through sounds, reflecting an intense inner dialogue and a desire for release from their condition. While the piece aims to partially heal the listener with its calming sonic landscape, it subtly acknowledges the dark feelings of death, which linger in the background and continually haunt the human experience, inviting introspection and empathy within this deeply personal and emotional soundscape.
 
Valerio Galadini is a composer and sound artist in the field of experimental and electroacoustic music, combining modern technologies with an aesthetic influenced by contemporary media. His music, called Sonadec, draws inspiration from Concrete Music, Glitch, Soundscape Composition, and Ambient. It uses ambient recordings, found objects, voices, and electronic sounds as narrative tools to evoke precise images through semantic association between sound and vision. His works are characterized by meticulous attention to detail, creating a sound collage that integrates various aspects of an environment, exploring the relationship between humans and technology, and addressing the dualism between natural and artificial.
https://www.instagram.com/valeriogaladini/
https://www.facebook.com/profile.php?id=61563174631984


 5) SOAK LAB – Conduits

The aim is to improvise for radio, after-images of three days spent at the sea. Just as pollution is the how the sea carries memory of us, we might also allow the sea to infect our consciousness. We reproduce traces of the landscape and seascape of the Plymouth Sound through aural resonances and after-images.

To replicate the process, find a group of women and spend three days at the seaside with them. Feel how your body is made of salt water. Listen to rock-pools with a hydrophone. Catch a boat to a place with grasses and birds and seaweed. Listen to the voice of the grasses. Speak the language of seaweed. Walk along a promenade with a mirror in your hand, until you feel like the rippling sea catching sunlight. Dance by finding points of contact with each other. Improvise. Remember.
SOAK is a home for experimental multi-disciplinary practice in the South West of England. As well as curating our wildly successful SOAK Live Art Events, we run SOAK Lab, a space for skill sharing and community building, responding to tidal and river ecologies around Devon and Cornwall. These sessions are recorded and made into pieces for Soundart radio, Dartington. This work is an extension of Kerry Priest's research/practice into Polyphonic Poetry as a means of de-centering poetic lyricism by aligning it with contemporary choral practices, and Sarah Blissett's research/practice into sounding tidal ecologies through embodied performance.
https://www.instagram.com/soakliveart/
http://kerrypriest.com/
https://www.sarahblissett.net/work


6) Whadat XP - B15 (Inner informations)

On 17 March 2000, an 11,000 km2 piece of ice broke off from the Ross Ice Shelf, the largest ice barrier in Antarctica. For 18 years, the B15 iceberg drifted, fragmenting as a result of collisions, redrawing the maps of the Antarctic coastline and preventing many animal species from feeding. Its last fragment, B15z, evaporated off the coast of South Georgia after a long journey of 14 000 km.

This sound piece evokes the climate change through the changing states of the element water. This is the story of B15, a gigantic block of pure water condemned to a long and slow decay.

Gratuated with high honors from the Conservatory of Marseille in electroacoustic, Alexandre Ollivier (Whadat XP) came from electronic techno music and released some EP's before discovering concrete music. His electroacoustic and experimental music project Whadat XP engages the listening and the imagination of the listener by offering various immersive sound experiences with Acousmonium device. He regularly collaborates in various interdisciplinary projects (video, dance, scenography, radio, short film, installations, mixed electroacoustic piece, etc.) Sensitive to the ecological and political themes of the modern world, he has composed various sound pieces that questions our relationship to work, society & the future
http://www.instagram.com/dssworks
http://www.instagram.com/whadatxp
whadatexperience.bandcamp.com

The Great Northern Diver is a 50 min radio production that combines spoken word, poetry, and field recordings. It tells the story of one man’s attempts to capture bird calls as he searches to understand what it might be like to be a bird. Using first and third person perspectives, scientific as well as poetic investigations, the work explores themes of migration, displacement, rootedness, home, and loss, highlighting the entanglement of human history, landscape, and ecosystems.

(The production contains two 20 sec excerpts of Passacaglia by GF Handel played by Marisa Robles, Pieces from my childhood 1979, UMG.)


Artist bio:
Jim Lloyd was a winner in The Rialto ‘Nature and Place’ poetry competition (2020). His poems have appeared in many places including: The Rialto, Stand, One Hand Clapping, Poetry Wales, and Nine Pens Press. He has an MFA (distinction) in Fine Art from Newcastle University, and he is now studying for an art practice-based PhD at Newcastle on the representations of avian perception. This research uses multiple methods, including creative writing, drawing, photography and field recording. He lives in Northumberland, UK.

Website/social links
https://www.jamesjosephlloyd.com/

Percussive gestures with a geophone on a floor loom play with technorational forms of listening. And recorded household objects as divining pendulums over a fraudulent blueprint of Texas oilfields (1920s).

Industrial listening includes the use of geophones and dowsing rods. Geophone arrays embedded at the earth’s surface connect to thumper trucks that “listen and reflect” acoustic waves in geological strata by inducing earthquakes. Despite the promises of accuracy, drilling companies still commission dowsers to wildcat (prospect for – sound) oil, minerals, or water underground. Mineral dowsing generally uses pendulums over topographical maps, while water dowsing uses coat hangers, witch hazel sticks or copper rods.

Fraudulent oil maps meant to deter drilling competition from landgrabbing, or to convince owners to sell, amid ongoing dispossession of Black and Indigenous lands. Divining over the map points to the dreamy indifference of wind and the uncertainties of tapping or untangling in acts of measurement.

Artist bio:
Megan Jeanne Gette approaches phonography (writing sound) through technologies of listening. She is author of Majority Reef (Inside the Castle Press, 2020), and several chapbooks. Her publications include Venti: a Journal of Air, Art and Aesthetics, Cleveland Review, Minor Literatures, Black Warrior Review, BAX: Best American Experimental Writing, and elsewhere. She has edited and written for many experimental art presses and journals, including the Visual and New Media Review at the Society for Cultural Anthropology’s Fieldsights, and is a member of the ethnographic sound art collective OS. She holds an MFA in poetry and a PhD in anthropology.


Website/social links
https://atrace.cargo.site/
@808omega

This broadcast uses the decommissioning process of the Hunterston A and B Nuclear Sites to explore the exhaustion of the nuclear dream and the residues it has left on the Clyde coastline.

The surround of Hunterston is drawn out in sound, summoning the material and affective sediments that linger in and around the site, and the infrastructural overwriting enacted on the landscape by palimpsestic energy imaginaries.

The composition is centred around a series of geophone recordings taken during the FieldARTS residency with the Infrastructure Humanities Group. Low-frequency hums are drawn out from Hunterston’s material landscape to become drones, pulling in and out of harmony, evoking sonic spectres that linger beyond the edges of auditory perception.

Artist bio:
Extense is a collaborative project between Clara Hancock and Dianne Burdon. They are interested in how technologies, as sensuous extensions of the body, impact our interactions with infrastructures. Their shared research uses atypical cartographic tools to explore the futures being mapped through historical and contemporary sites of development, a project of playful study centred around untangling the epistemic constraints of energy futures.


Website/social links
https://clarah.cargo.site/

https://dianneburdon.com/

The word ‘Windowpecking’ describes the act of wandering through a city and becoming mesmerised by shop fronts and the windows of residential buildings and flats. Initially, the practice of ‘Windowpecking’ may be an act that occurs rather automatically when strolling around in unfamiliar areas. It is linked to the practice of drifting. ‘Windowpecking’ creeps its way into one’s walking, until one finally realises that there is a pattern in the randomly occurring, unplanned paths one takes and the gaze remains glued to certain panes of glass and lingers. Like a bird hammering on a window to request entry, ‘Windowpecking’ reminds us of the separation between internal and external, private and public, sidewalk and interior, of lantern light and bedside lamp. ‘A Guide To Windowpecking’ is a 30-minute original sound piece by Eliza Wagener. In her sound piece, the painter refers to an ongoing series of small-scale paintings that started with her move from Hamburg to Glasgow in October 2024. ‘Various depicted scenes show moments or direct glimpses of window frames as seen from the outside. Figures move across the images, bathed in mystical green and blue light, in almost monochromatic scenes, as if they aim to draw one into the space—both the exhibition and the pictorial space. Come closer, we are here, and you can look at us. Consciously or unconsciously, staged, or casual gazes?’ (Anne Meerpohl: A Rear Window Situation, Les Nouveaux Riches Magazine, February 2025) ‘A Guide To Windowpecking’ will be presented for the first time at Radiophrenia Glasgow and then broadcasted live for the second time from the exhibition ‘Windowpecking fortlaufend’ at Kunstverein Harburger Bahnhof in Hamburg via HALLO: Radio on April 26, 2025. Featuring the voices of Embla Graham, Calypso Keane and Colm Moore.   Artist bio: *1994 in Hamburg, Germany EDUCATION: Since September 2024: MFA at Glasgow School of Art 2019-2024: BA in Painting at HFBK, Hamburg RADIOACTIVITY (SELECTION): 2023: Curation of event-series “The Flying Radio” during which the temporarily homeless HALLO: Radio broadcast in several locations (Golden Pudel Club, BEEK, FSK Radio, remoto records) in Hamburg 2022: Co-curation of HALLO: Festspiele, Hamburg 2021: Co-curation of “HALLO: Spuckzellenmodul” at altonale, Hamburg Since 2021: Co-running Hamburg based webradio HALLO: Radio Performances at PAPIRIPAR Festival, Floating Transmissions Festival, HALLO: Festspiele, HFBK Hamburg, Galerie LADØNS and many more. Website/social links Website: http://www.elizawagener.com Instagram: @elizawagener Soundcloud: https://soundcloud.com/elazer Selected Radioperformances: In den blauen Stunden, 2024: https://soundcloud.com/hallo-radio/in-den-blauen-stunden-eliza-w-14072024 Floating Witches, 2023: https://soundcloud.com/hallo-radio/floating-witches Between The Hawthorn And Extinction, 2022: https://soundcloud.com/hallo-radio/between-the-hawthorn-extinction-w-elazer Aus dem Kokon, 2021: https://soundcloud.com/hallo-radio/aus-dem-kokon-elazer-300 Selection of episodes of my monthly show on HALLO: Radio, which were dedicated to a specific topic: L’intérieur sauvage 31 - 18/04/2024 (Being Alone): https://soundcloud.com/hallo-radio/linterieur-sauvage-31-elazer-18042024?in=elazer/sets/linterieur-sauvage L’intérieur sauvage 27 - 21/12/2023 (Darkness): https://soundcloud.com/hallo-radio/linterieur-sauvage-27-elazer-21122023?in=elazer/sets/linterieur-sauvage L’intérieur sauvage 24 - 21/09/2023 (Autumn): https://soundcloud.com/hallo-radio/linterieur-sauvage-24-elazer-21092023?in=elazer/sets/linterieur-sauvage

1) Yve Lomax - Quer ep 3: Being born together (7.13)
2) Avi Ziv - Encounter With The Krell (6:19)
3) Catherine Street - Thought feels (3:16)
 
1) Yve Lomax - Quer - ep 3: Being born together
 
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) Avi Ziv - Encounter With The Krell 
 
We are all waves of energy. The Encounter With The Krell uses sonification of electromagnetic fields, emanating from both motors and magnetic tape, as the book ends to generative synthesized statements. The performer applies nuance and expression in response to every sound, forming a dialog. This improvisation was captured live, in one shot, and without any editing. Recorded using a micro cassette recorder, custom EMF sensors, an electromechanical plucked instrument, and a 0-coast synthesizer.

Artist bio:
Avi Ziv is a multi-instrumentalist, sound artist, instrument builder, and audio drama producer, working in the US.

Website/social links
Instagram: @evolving_door
 
 
3) Catherine Street - Thought feels

There is a layering of non-verbal vocalisations that have a comical or playful feel to them. The same voice, in a whisper, repeats the questions ‘is thought an event?’ and ‘is my body an event?’. The work explores verbal and non-verbal layering. The silly sounds coming from the body are interrupted by something more cerebral or philosophical, contrasting thought and feeling. This work relates to my research around the body-mind in its various forms. a practice of meditation and recovery from a serious illness. At the same time I am interested in the idea of ‘the event’ whether that be a thought, a movement, a body, a mistake, a trauma.

Artist bio:
I am an artist working with performance, video, sound, collage, writing and sculpture. My work speculates on the relationship between the body and language. How do ideas imposed by words affect the fleshy organs of human beings? My work tends to celebrate the body - its tenderness and vulnerability - against the brutality and insecurity around it and seeping through it.

Website/social links
https://catherinestreet.net/
Instagram - @catherine.street.art
X - @StreetCatherine


 

As a child I travelled the world on BCL radio and was fascinated by the music and languages of distant countries with fading phenomena. 
Once, while checking the shortwave band, a 'pheeew' noise passed by. 
The frequency range was very wide,and the overall frequency was heard to rise in a continuous sequence of changes.
What was that sound?
Jamming 2025 is an attempt to recreate that experience from memory.

Bio:
Phew is a musician based in Tokyo, Japan. While fronting Aunt Sally, one of Osaka’s earliest punk groups, Phew played a critical role in developing Japan’s underground music scene. Phew’s oeuvre spans a vast array of experimental sounds: from no-wavey synth-hymns; to poppy, shoegazing, industrial undertones; to eerie incandescent drones. Since the 1970s, Phew’s dynamic, compelling voice and her commitment to unfettered experimentation has been critical in shaping the sound of avant-garde music both in Japan and internationally.

https://phewjapan.bandcamp.com

Does the underground still exist? A report from the fringe of the angry smile. Featuring interviews and musical collaborations with Suzan Peeters, Nico Bogaerts, Guillaume Maupin, Èlg, Dennis Tyfus, Uj Bala, LEM and the crew of NHGE Bxl.

This edit is a taster of a longer radio feature that will be released in the future. All recordings were made during a residency at Q-O2 Brussles in July 2024.


Artist bio:
Felix Kubin likes to crawl under spirals and jump over cylinders.

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

1 ) Emma Bowen - 18fps – (3:20)
2)  Jessica Syposz - The Buzzer (8:54)
3 ) Sebastiane Hegarty - a wymering (10:26)
4)  Clare Roberts (Little Strings) - LET THEM HEAR (1:10)
 
 
1) Emma Bowen - 18fps

This short soundscape composition segues in and out of a single recording of a 50ft super 8 film projection. The film threads through the machine and onto the rear reel, while environmental and found sounds slip in and out.  In reframing and repurposing these disappearing sounds - analogue technology, environment and found objects - I tried to develop a dialogue and awareness of contemporary environmental cultural practise.

Emma Bowen is an artist, facilitator and educator based in Scotland. She works collaboratively on bespoke learning, social care and AV art projects.
She has made noises with and for other people at; Concurrent, Edinburgh Art Festival, Glasgow International and for Sci-Fi theatre in Liverpool. She was awarded an honorary mention and best experimental audio for - 2 years - at Black & White Festival Internacional Audiovisual, Portugal. She exhibits and screens work locally and internationally.
http://www.emmagbowen.com

 
2) Jessica Syposz - The Buzzer

Lena can't stop listening. Her favourite radio station only transmits a single, eerie buzzing noise. The sound gets under her skin. It makes her feel safe, especially on lonely nights in her room while her menacing landlord prowls around the house. The more this vulnerable young woman listens to this radio station, the easier it is to forget the world around her, or to feel like it's even real at all. A monologue which culminates in an unearthly radiophonic soundscape, 'The Buzzer' is a journey into obsession and our desire to be part of something bigger than ourselves. Written by Jessica Syposz, starring Radhika Aggarwal, with sound design by Paul Dodgson. The radio station Lena listens to is a fictionalised version of the real UBV-76 frequency or ‘Buzzer,’ a short-wave radio station which has been transmitting an unexplained buzzing since 1983.

I am a writer from Birmingham, UK, working across prose, audio and theatre. I often layer my work on top of soundscapes drawn from field recordings and the crackle and hum of old analogue tech. My audio play ‘The Buzzer’ was featured at the 2023 UK International Radio Drama Festival. I am the fiction editor at interdisciplinary arts magazine, Porridge. My ten-minute monologue for stage, ‘Caterpillars’, was performed at The Old Rep Theatre, Birmingham in April 2024 as part of their Write Away Scratch Night, where it won the audience vote for best piece.
https://jessicasyposz.co.uk/

 
3) Sebastiane Hegarty - a wymering

Wymering Manor is the oldest building in Portsmouth, and one of Britain’s most haunted.
This composition builds on a series of drawing, listening, and sounding workshops I delivered, as part of a collaborative architectural project, with Wymering Manor Trust, artist Belinda Mitchell and her MA Interior Architecture and Design students.
The workshops expand on drawing as a multi-sensory practice, exploring notions of the interior by tuning into the body.  Through the choreography of touch, we focus in our bodily interior, listening, drawing and sounding out breath.
As the conversation develops, we correspond, we listen with the building, rolling pebbles to uncover the acoustic memories of rooms: a technique used in the Manor’s nightly ghost hunts.
The project culminates in a haunting: ‘a wymering' at Wymering, that mingles field-recordings – including the amorous tap of Death-watch beetle - with live drawings and instruments dismantled from domestic furniture and played by students.

As a visual artist working with sound, Sebastiane Hegarty’s practice explores the materiality of sound, silence and the unheard. These works are realised through text scores, failed phonographic objects and the weak signals of lost micro-FM transmission.
His work has been transmitted, performed, heard &  unheard across the UK, Europe & Americas. Through performed texts he has presented his research at conferences including, RPTF 2023 (The Library of Congress, Washington 2023). In 2022, his text work, ‘I am not imagining this…’ was nominated for ‘Best Imagined Sound’ in The Sound of the Year Awards. It didn’t win. 
https://sebastianehegarty.wordpress.com
Instagram:  @sebastiane_hegarty / @listenthroughthewaves


4) Clare Roberts (Little Strings) - LET THEM HEAR

"LET THEM HEAR" is a powerful sound art poem that amplifies how marginalised voices are often overlooked. It blends spoken word with immersive soundscapes, amplifying overlooked voices. It’s a visceral experience where words echo, resonate, and demand to be heard. Are you ready to let them hear?

Clare graduated from The University of Glasgow with an MLitt in Creative Writing. She is a musician, writer, and performer whose work includes sonic art, music, and literature. Her sound art has been recognised through the “Mind Trees of The Urban Forest Exhibition” exhibition in Carlisle. Her latest experimental sonic art piece was published in Unpsychology Magazine. One of Clare’s proudest projects is "Vitiligo Song," a community arts project for The Vitiligo Society.
Clare is interested in how music and phonology intertwine to explore communication methods.
https://soundcloud.com/phloxwn/sets
https://instagram.com/littlestringsmusic

5) Anastasija Stanojević – Krš (20:44)
6) Katie Suzanne Ballentine - Final Traverse (2:37)
7) Ioustini Koutsogianni - Measure of the Sea (10:00)
 
 
5) Anastasija Stanojević – Krš

This piece is a live, fully improvised soundcape that blends vocals, live looping and a variety of effects to create an immersive, almost meditative listening experience. Drawing inspiration from Bulgarian choirs and drone music, it opens with layers of ethereal vocal harmonies, evoking a sense of sacred space. The use of heavy reverb adds to the atmospheric depth, surrounding the listener in a sonic landscape that feels expansive and spiritual. The tranquility is intentionally broken by bursts of dissonant noises and harsh, somewhat disturbing textures, creating tension and unpredictability.
Rather than being chaotic, these interruptions serve to contrast the beauty of the harmonic sections, creating a dynamic interplay between serenity and disruption. Each performance is unique. The piece evolves in real-time, inviting listeners into a deep, reflective journey through sound and emotion.

Anastasija Stanojević, born 2001, is a versatile vocalist rooted in jazz, free improvisation and traditional Serbian folk music. Growing up in a religious environment, she sang in choirs throughout her life, shaping her deep connection to sacred music. After completing her undergraduate studies in Lucerne, Switzerland, she is now pursuing a Master‘s degree at the Royal Academy of Music in London.
During her studies she has worked and performed with renowned musicians like Magda Mayas, Julian Sartorius, Christian Weber, The Sun Ra Arkestra and Dave Holland, blending traditional and experimental elements to create unique and immersive performances.
https://www.instagram.com/steischa_/profilecard/?igsh=aTU3OHR1bnJqc3Zw

 
6) Katie Suzanne Ballentine - Final Traverse

Final Traverse is a collaborative piece made with Composer Anselm McDonnell.  This audio work which draws inspiration from the club scene, intertwining this with climbing and indoor bouldering, was made as part of an immersive installation which formed my degree show for my Masters in Fine Art.  It is a carefully constructed piece utilising heart rates, found sounds and interpretations of climbs and the movement of the body.

Katie Suzanne Ballentine is a Northern Irish artist based in Ballymena and Belfast.
As a recent graduate from the MFA programme at Belfast School of Art her practice continues to expand, making use of skills learned during her time there, from printmaking to avant-garde audio work, video production and expanded cinema.
Her practice currently focuses on sonic art and new forms of graphic notion, exploring and deepening her connection with these concepts through collaborations with musicians and climbing.
https://www.katiesuzanneart.com/
Instagram: @katiesuzanne.art

 
7) Ioustini Koutsogianni - Measure of the Sea

A Measure of the Sea is a collection of performance works that intertwine Queer ecology with timeless mythology, in a deep dive exploration of our interconnectedness with the ocean.
Each piece within this collection serves as a reflection, both personal and universal, on humanity's intricate relationship with the vast expanse of the ocean and how they affect each other.
The extract above is a soundscape created for a character trapped in a submarine who is slowly losing their sense of self whilst the sea is slowly taking over.

Ioustini is a multidisciplinary artist with a visual media and sound background. In her practice she draws from contemporary themes and everyday issues and combines them with mythology and folklore to make them more accessible to a wider audience.
https://www.instagram.com/j_koutsoyianni/profilecard/?igsh=MTI3djkwcHdrNTdkaw==

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

Artist bio:
The Electroacoustical Poetical Society is the invention of Marjorie Van Halteren, a poet, sound artist and composer living in Lille, France. Details at http://www.electroacousticalpoeticalsociety.com.

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

by pressing record we create an edit. we select. by selecting what is recorded and what is not we create a reduction. a reduction creates a fantasy.

torpor is a live performance between an open network of live omni directional microphones transmitting ecological sound to the Locus Sonus server and compositions made of time stretched samples from past live transmissions.

fantasy - temporality - flat listening - slow radio - geologic time scale - local and planetary rhythms - networks - crowd shyness - omni-directional microphones without directional subject - language barriers - radio as communication technology - smiling as communication technology - thick air -

Artist bio:
gravemere is a front/stage/window/ for performance. using time-stretching and recordings from live transmissions gravemere documents a separation/grief/ache from the organic/real/physical world. an ephemeral practice suspended.

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Mort Drew is a creative technician working on live audio broadcasts, anti-hierarchical sound systems, and installations. Their practice explores ephemerality, activist radio, grief and displacement. Their work appears as broadcasts, workshops, publications, sound devices and performances.

Mort is a co-director of the arts cooperative Soundcamp.


Website/social links
https://www.instagram.com/gravemere/
https://www.instagram.com/mort_drew/

Alliteration is a A radio on the radio play made from field recordings, audio diaries, and edits exploring the space between transmission and reception, signal and noise, dreams and waking, here and there. The first half of the show introduces the players, and the second half closes the gap between the spaces, bringing everyone into conversation. This work was originally made for WMFU's Radio Row series. Aired August 13, 2023. Artist bio: Elizabeth Flood grew up in Massachusetts and currently lives in Chicago, IL. She likes to go on walks, talk on the phone, eat dinner with friends, and take ballet classes. Flood's radio work is interested in playing in the blurry space between transmission and reception, signal and noise, dreams and waking, here and there. She is curious about what radio would sound like if we didn’t listen ‘to know’? She tends to find work (and play) most interesting when creating a system and being curious about the outcome, rather than seeking a particular end result.

“co-opt radio” is an improvised performance project which uses sampling, manipulation, and layering of live radio to create sonic landscapes. All sound is improvised and no pre-recorded or synthesized sounds are used. Fragmenting, stretching, repeating, and blending scattered moments of sound to build unrecognizable sonic worlds. The resulting sonic landscapes move through pure noise to ethereal music, from dark and sombre textures to joyous and playful passages. Each performance is a unique reflection and response to the radio landscape, exploring acts of documentation, archiving, and collective listening through re-contextualizing our relationship to place, memory, and sonic culture. For Radiophrenia 2025 I propose to do an expanded co-opt radio live set to mirror the world frequency, starting by sampling local Glasgow radio then expanding the radius of source sounds to gradually include internet radio sources from across the globe. Note: the length can be varied according to programming.

Artist bio:
Max Farrell is a Glasgow-based visual artist, scientist, and composer of experimental music. His artistic work traverses video, electroacoustic and instrumental composition, improvised performance, and image-based sculpture. Across disciplines and media, he interrogates intersections between the material, informatic, and cognitive dimensions of documentation, perceptions of place at varying physical and temporal scales, and the processes by which humanity re-structures “natural” environments.

Link to download audio/images:
https://drive.google.com/drive/folders/1ht4KQKdbElGAd3G_AafFgXz7meXPO2Hb?usp=sharing

Website/social links
http://fakoandro.world/
https://www.instagram.com/fakoandro/

1) Molar Fear - Psychic Improvisation Experiment (10:43)
2) Gregory Whitehead - How Still My Brainwaves (6:46)
3) Jennifer Wicks - Not Placed (20:16)
 
1) Molar Fear - Psychic Improvisation Experiment

So I had this idea right.  People are always banging on about musical improvisers, ‘reading each other’s minds’ or ‘interpreting non-verbal cues’.  All that jazz eh?  But what if improvisers Molar Fear, really tried to psychically transmit their thoughts to each other?  What if they focused their minds across the river Tyne and jammed their respective instruments in secret, only for their furtive tracks to be overlaid at the last minute?  So that’s what we did.  Four tracks, recorded independently, and without any discussion or planning that I slapped together, without editing or prior listening for you to enjoy.  It’s a real experiment in seeing if our styles, some sharply percussive, some grimly grubby can melt like hot ear-butter.  You are the judge!  You decide dear listener! How did we do?

Molar Fear is an improvising quartet made up of two improvising duos.  Molar Crime is Graeme Hopper (drums and production) and Joe Posset (dictaphones).   Beer Fear is Natalie Halaseh (electronics and samples) Isaac Goldsbury Murray (voice).   Together we are Molar Fear.  Get it?  What more do you need to know eh?  Yeah, we’ve played a bunch of gigs in Newcastle-upon-Tyne where we live and we supported Wolf Eyes in 2024.  That was fun. Expect a little bit of clatter and a little bit of skronk; mismatched warbles that, in the end, dovetail like magnetic ham and eggs.  
https://molarfear.bandcamp.com/album/demonstration
 
 
2) Gregory Whitehead - How Still My Brainwaves 

“His head was a mess, so his brain was a mess.”

A disintegrative composition for solo voice and cosmic crackle inspired by the structure and rhythm of a Langston Hughes poem, featuring a DIY ventilator that fails to sustain the patient.

Artist bio:
Gregory Whitehead is a lifelong radiomaker, audio artist, text-sound poet, singer of tales and philosopher of the electromagnetic soup.

Website/social links
https://gregorywhitehead.net
 
 
3) Jennifer Wicks - Not Placed
 
Not Placed is a live recording of an expanded cinema performance. Using 16mm projectors as sound instruments, guitar pedals, optical sensors, microcontrollers, and algorithmic light-sound software, 16mm optical film samples, the work explores time through experimental practice and the interconnectedness of sound and vision as they evolve in the performance space.
 
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/

"Administrative Embrace" grants unprecedented access to the inner workings and concealed logic of the enigmatic Office for Joint Administrative Intelligence. This transmission crosses rustbelt landscapes, pedestrian tunnels, flyovers, debris fields, and timelines, charting states of decline, delirium, immortality, and heroic obedience. Listeners are invited into the vast and impressive O.J.A.I. world headquarters. Through spoken word, modular sounds, architectural and bureaucratic fictions, lists, timelines, and ambient musical accompaniment, "Administrative Embrace" offers an hour-long exploration into institutional conjuring, information overload, camaraderie, and magic." Produced by O.J.A.I. in 2024/25 for Radiophrenia Glasgow Text and voice by Gary Farrelly Sound and mix by Chris Dreier Piano by Tim Löhd Dexia Defunct (Sonic Explorations to the European Rustbelt) - Charleroi I (2021) Dexia Defunct (O.J.A.I.) - Capital Flows (2023) Dexia Defunct - Credit Rating (2016) MK/CT (Chris Dreier/Tim Löhde) - MK7 Shieldfields (2017) Dexia Defunct - Rücksichtslosigkeit (2016) Dexia Defunct (O.J.A.I.) - Stay Off (2024) Biography: Office for Joint Administrative Intelligence (O.J.A.I.) is the collaborative practice of artists Chris Dreier and Gary Farrelly based in Brussels and Berlin. The work is fuelled by recurring fascinations with architecture, infrastructure, finance, esoteric practices and institutional power manifesting in postal correspondence, installations, sound, performance and walks as well as limited vinyl editions and publications. The work has been presented at Hugh Lane Gallery (Dublin), Damien & the Love Guru (Brussels), Centre Wallonie-Bruxelles (Paris), Marres House for Contemporary Culture (Maastricht), De Garage (Mechelen) and Contemporary Art Center (Cincinnati, US), among many others. O.J.A.I. produces a monthly music radio show for Dublin Digital Radio and for Cashmere Radio Berlin. https://jointintelligence.org/     @jointintelligence

A meditative sound collage of field recordings of voices and machinery - from Ireland, Bali, China, England and Finland.

Artist bio:
Keith de Mendonca took his first tentative steps into field recording in 2000 and since then he has been a contributor to the long-running radio show “Framework” on Resonance FM. His audio recordings have been aired on the ABC, BBC, ORF and other radio stations worldwide. Keith’s work has been used in the soundtracks of experimental films, appeared on CDs and been the subject of a DivFuse installation in London. For the last 2 years Keith has also been photographing live music events in London.

Website/social links
https://frameworkradio.net/tag/keith-de-mendonca/
https://soundcloud.com/keith-de-mendonca
https://www.instagram.com/keithdmphoto

‘Poltergeist or some scene else’ is an essayistic radio work by Yulia Carolin Kothe that takes the Barras Market's (Glasgow) syntax of artefacts as a starting point for creating an expanding and ever-evolving tableau of intense, uneasy acousmatic atmospheres. The conspicuous and omniscient narrator takes the listener on a rambling walk through the Barras entering private and public spaces, a remote cottage and various ambivalent territories home to disembodied voices and close up traces of life like a wet ring of a coffee cup just plucked from the scene. Kothe's own electronic compositions are juxtaposed with re-articulated oral histories, chopping up DIY recordings on cassettes purchased from the Barras Market, and combining with avantgarde German poems by Elsa von Freytag-Loringhoven (1874–1927), Thekla Lingen (1866-1931), Karoline von Günderrode (1780-1806) and Anna Ritter (1865–1921). Text by Caitlin Merrett King Artist bio: Yulia Carolin Kothe is an artist working between Glasgow and Frankfurt am Main. Her practice moves between sculpture, film, sound, writing, installation and performance, often responding to archival material, queer feminist theory and personal and oral histories. Through forensic expansion of these materials, Kothe creates new sites, both digital and physical, glitching fictional or often partially-remembered environments that seek to configure new relational and temporal experiences. Website/social links https://www.juliacarolinkothe.de https://www.instagram.com/yulia.ko_/ https://soundcloud.com/kothe-yulia

Thea Soti, Christine Schörkhuber and Verena Dürr are immersed in a joint research on how stories influence our perception of nature and with which narratives we confront the climatic changes on the planet, which we as humans significantly cause. The literary current of the NewWeird strives for a perspective that also includes the vague, the fluid. What expression can we give to the incomprehensible, the uncanny, the strange that we are confronted with in a globalised world? What can we learn from the strange and the weird in order to confront the ecological transformation processes that we are facing or are already in the midst of? Not only us humans, but all of us! How do we abolish ourselves as the centre of the world in order to see ourselves as part of the world, in order to feel responsible for the world again? It is about a practice of becoming permeable, of penetrating, of letting oneself be penetrated, of caring. It is about communicating with plants. About cooperating with the "inhuman". Even if and precisely because it is weird.    SHAPE+, the platform for exciting new projects from the field of music and audiovisual arts of the festival network ICAS, was co-founded in 2014 by ORF musikprotokoll at steirischer herbst. It is funded by the European Union's Creative Europe programme. "SELTSAMEN" were initiated by ORF musikprotokoll and are a cooperation with Ö1 Zeit-Ton, Ö1 Kunstradio, XX Y X and Kluckyland.   The storytelling lounge and installation "SELTSAMEN" by Thea Soti, Christine Schörkhuber and Verena Dürr can be experienced at Kluckyland in Vienna from 2.6.2023.

Immersion in the far north, where the wind blows, the snow cracks and the ice rolls and scraps. Where one does not enter by chance, but by leaving the comfort of daily certainties. Where we lose our footing and our bearings, where we sink into these wide valleys dominated by icy mountains, until we let ourselves be crossed by the raven, which flies away.
How do we deal with the retreat of the North as we know it?
Garanas Lokte is composed exclusively with fieldrecording in Swedish Lapland. I never felt really welcomed by this landscape, until the day I started listening to it, with my microphones. From that moment on, I was able to begin to enter into a relationship with it. This power of listening allows us to find permeability, connection and wonder with our surroundings, to get rid of the ignorance that paralyzes us.


Artist bio:
Anne Versailles, lives and works in Brussels. Geopoet and walker, her work explores displacement, crossing and slowness. As a sound artist, she collects sounds while crossing territories and composes acousmatic works born from the energy of the crossed landscape that she then often diffuses in the form of in situ sound installations. She also composes for radio creation, theater or sound walks. She also writes and this literary work is not different from her sound work, the two are often mixed.


Website/social links
http://www.anneversailles.be

In this radio play, told through the voice of the Narrator, we are presented with an eccentric cast of characters living with an ever disenchanted and hostile landscape made up of old mines, towering blast furnaces, an inexplicable blackness which seems to spread insidiously, and a strange red substance that emanates from the earth. The veil is thin in this world… Perhaps you best enter the Inn of Ill Omen, order a nice frothy pint and rest your aching soul by the hearth. In the dim light an open hand reveals a blood red ironstone, an amulet that will reveal the way to “that place”... or so the story goes.

Artist bio:
SUBTERRA is a collaboration between Astrid Björklund and Marie-Chantal Hamrock, creating works which navigates speculative narratives of the chthonic (of relating to or inhabiting the underworld) through text, poetry, soundscapes and music. Currently working together as curators for the Fermynwoods Podcast.

Website/social links
https://www.instagram.com/sub.terrestrials/
https://www.mixcloud.com/sub_terra/
https://fermynwoods.org/fermynwoods-podcast-24-subterra/

1) Kristina Loring - DNA ASMR (3:00) 2) Gabi Schaffner - Horom Radio (6:00) 3) andre birken - 31 monstrous demonstrations - GAUMENFREUDEN 8 (0:27) 4) Sylvain Souklaye - INVISIBLE BODY (RAW NOISE) (10:00) 1) Kristina Loring - DNA ASMR In my real-life quest to find a sperm donor, it became an increasingly anxious activity. I have looked through nearly every cryobank in the United States. And some of the marketing of these sperm donors always struck me as so hilarious. Who was writing these descriptors? Was it the cryobank or the donors themselves? The queer act of choosing a donor is such a bizarre, complicated, weighted decision with so many factors that I wanted to playfully and absurdly highlight the reductionist aliases’ that become the first introduction to the donor you choose. Wrapping it in an ever so slight fictional framework that changes the reality of scrolling through websites and puts it into an ASMR-like - unboxing video of ‘essence’ vials - was an attempt to make tangible the abstraction that happens when you are choosing the DNA for possible human life in such a limiting, categorizing, essentialist way. Kristina Loring is a story editor, sound artist, and audio producer, who works across genre and form to create media experiences you feel in your body. She was the founding Head of Audio at Dipsea, leading teams of writers, producers, and sound designers to create feminist audio erotica. Before that, she created the interactive cooking show Cooking By Ear. Creating hands-on installations and interactive performances to bring the audio to life, her work blends documentary-style interviews, field recordings, and fiction to foster connection, intimacy, and new emotional realms for listeners to explore. https://www.kristinaloring.com/   2) Gabi Schaffner - Horom Radio The ancient city of Horom is set in the southwest of Gyumri in Armenia. The hills are strewn with the remnants of ruins… one might guess that this has been a fundament – or that the color of the grassland had changed with what resided underneath. The air was filled with the drones of jets circling a sky with some clouds. The wind chased wilted thistles across the expanse of the land. We walked among the stones and turned my small radio on. We wondered whether the jet fighters that kept darting out of the blue had noticed us. We recorded the drones of the planes, the radio, the dead city and the rustle of the tumble thistles, being moved around. 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. https://schaffnerin.net/  http://datscharadio.de/   3) andre birken - 31 monstrous demonstrations - GAUMENFREUDEN 8 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 4) Sylvain Souklaye - INVISIBLE BODY (RAW NOISE) INVISIBLE BODY (RAW NOISE) is a sonic and bodily exploration of parenthood. Created by Sylvain Souklaye during his residency at LEIMAY CAVE, just days after the birth of his daughter, the piece reflects the chaos and euphoria of this life-changing moment. Blindfolded, Souklaye navigated the studio space to reconnect with his body, rediscovering touch and movement. This disorienting process allowed him to lose and find himself simultaneously, creating an intense, raw transformation expression. The work questions the body’s evolving role and purpose in the real world. Sylvain Souklaye is a French Caribbean Brooklyn-based live artist, sonic maker, and author. His work explores broken bodies, environmental crises, and political retribution. Rooted in his Martinique and Lyon heritage, Souklaye’s early focus on DIY social justice evolved into immersive performances and sonic installations that emphasize collective intimacy. His notable works have been presented at venues like Judson Church and Grace Exhibition Space, with installations such as Liquid Soul and Soliloquy in Motion. Souklaye was also recognized among the top 100 Contemporary Artists by Aesthetica Art Prize. https://www.sylvainsouklaye.com https://www.instagram.com/sylvain.souklaye/ https://sylvainsouklaye.bandcamp.com

5) Jamie Lemoine - KEZM easylistening (8:04) 6) Dr. Quinn, Medicine Woman - The Benefits of Destroying Our Planet  (1:09) 7) Adrian Laugsch - Spasms Of My Aching Heart Lamento 5 (12:40) 8) Juliette Liautaud - A-row (rayon vert) (8:10)   5) Jamie Lemoine - KEZM easylistening KEZM is a now defunct radio station, based in Los Angeles. This experimental audio piece was composed by Jamie in 2024, incorporating clips from KEZM broadcasts made in the 1970's. 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://soundcloud.com/mov_o123   6) Dr. Quinn, Medicine Woman - The Benefits of Destroying Our Planet   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   7) Adrian Laugsch - Spasms Of My Aching Heart Lamento 5 "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) Juliette Liautaud - A-row (rayon vert) Voices, forests and backlights – stretched start, in green stripes A-row (rayon vert) is an electroacoustic composition made of transformed found sounds of the BBC, concrete sounds objects and mutative voices that deals with an imaginary forest going to disappear. Originally made for being played on acousmonium, this is a broadcasting version of the piece aiming to be played as a stereo piece on radio. Juliette Liautaud is a visual artist and composer based in Marseilles, France. She holds a MFA from Villa Arson National School of Arts. Her work has been showed in various exhibitions and experimental festivals across France and internationally. Her body of work includes photography, installation, experimental film and electronic and electroacoustic compositions, always dealing with the power of Nature and its mysteries, creating visual and soundscapes with an eerie atmosphere. She recently joined Station Station radio and Lyl radio, with conceptual shows of mixtapes and poetry and she co-runs the independent publisher Stereo Editions focusing on artist's experimental publications. https://julietteliautaud.com/ https://www.instagram.com/juliette__liautaud/ https://soundcloud.com/lulland

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.

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.