Wed 16

"you wont never fynd no beginning its long gone and far pas." ‘If we look through the aperture which we have opened up onto the absolute, what we see there is a rather menacing power, something insensible, and capable of destroying both things and worlds, of bringing forth monstrous absurdities, of realizing every dream, but also every nightmare, of engendering random and frenetic transformations, or conversely, of producing a universe that remains motionless down to its ultimate recesses, like a cloud bearing the fiercest storms, then the eeriest bright spells, if only for an interval of disquieting calm.” “To push anything back into the past is equivalent to reducing it to its simplest elements. Traced as far as possible in the direction of their origins, the last fibres of the human aggregate are lost to view and are merged in our eyes with the very stuff of the universe.”

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

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

One hour audio composition. This album was created at The AARK (Archipelago Art Residency in Korpo, Finland). More Glimmers …. As it was summer, the days were long, stretching into what would normally be considered night. Free of almost any responsibilities, we drifted in what felt like a timeless space that allowed for long meandering walks through the forests and shorelines, bicycle rides and sea kayaking. There was also the ferry taxi that takes people much further out to sea, where the islands are more sparsely populated and the blue expanse seems even larger. Some days we would ride bicycles on the curving road into town and sit at Hjalmar’s bar, sipping ciders and eating probably the best french fries Mykel has ever tasted. Sometimes it was quiet, other times the place would be full of travelers crossing through the archipelago on holiday.  Artist bio: Who we are: post doom romance. What Mykel Boyd and seah (Chelsea Heikes) have in common when forming their collaborative artist group, post doom romance, is a keen eye and ear for textures. In both sound and image, we have been solo artists working both in the music industry and the fine arts world. Together, we produce sound, video, and still image compositions that are sensitively layered and textural. Our aesthetic is such that we do not heavy-handedly depict. Rather, we ruminate together in the feeling space of both literary and physical spaces, building our aural and visual language through Website/social links http://www.postdoomromance.com https://somnimage.bandcamp.com/album/glimmers-on-the-archipelago

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/

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

Today's episode is from a live performance of Tree Frog Radio by Ben Donoghue that took place on February 1, 2025. Tree Frog Radio in the Northern Gulf Islands is an unique underground FM radio initiative in British Columbia that uses trees as antenna masts for localized radio broadcasts – expanding a rural island community’s boundaries of the possible. In this radio art performance interviews and field recordings about Tree Frog Radio were mixed together using loopers and feedback systems in order to blur the space between audio documentary, drone and noise.
  
Online listeners experienced a special video feed of the performance while in-person audiences got to wander the NAISA North Media Arts Centre in South River and both listen to the audio on a localized radio broadcast and visit Ben Donoghue in a small studio performing on a modular synthesizer.  Following the performance the two audiences joined together in a discussion about the performance and to learn more about Tree Frog Radio from its founders and members who were in attendance. Visit NAISATube channel for a video version of this radio episode.
 
https://naisa.ca/

In this programme, RE-PEAT collective approaches water justice through imagining the perspective of water nself, by drawing stories and definitions of bodies of water, and n’s entanglement in relation with other bodies, bogs, bugs, sundew, moss, reeds, drops, rivers, will-o’-the-wisp and us. Through collectivity, music and sounds, we follow a feminist subjectivity, watered, inspired by Astrida Neimanis’s call to “chart our politics of location in a way that recognises our diverse aqueous implications and responsibilities”.

The programme includes contributions from Moss Pit, the River Besòs in Barcelona and the Salween River in Thailand by Helen Ganya Brown.

-

RE-PEAT is a youth-led collective with a mission to change the narrative around peatlands across the UK and Europe - what we term a “peatland paradigm shift”. We strongly believe that peatlands are ecosystems for our times - representing both a vast existential risk and a huge potential for positive transformation, the course of which we follow depending on the actions of those alive today. We also see that these ecosystems can offer insights into a wide array of eco-societal features, including deep time, what we collectively choose to remember/forget, and how we can think beyond binaries.

https://www.re-peat.earth

(Google Translation)

Ivresses is a story between Jules and wine. Cyclical, immersive and sensitive, its setting is the arid vineyards of Corbières, the humid cellars of the Ariège mountains, the stifling heat of summer festivals. It's a loopy refrain in which pilfered harvests, pirate distillations, festive bottlings, bubbling vats, and wines that don't have time to age are intertwined.

Artist bio:
My practice mainly revolves around sound creation and documentary. But I also like making images, whether they are drawn, cyanotypes, screen printed, engraved, filmed, and I also like working with archives. I studied anthropology, Fine Arts and a master's degree in documentary filmmaking. I am currently working with two artist collectives, Les Obliques and La Disquette, with whom we create frescoes, drawings, video and sound installations, documentaries, workshops and sound walks. I also occasionally participate with my friends in the radio shows Menstruelles and Alerte Météo Terre.

Ivresses est une histoire entre Jules et le vin. Cyclique, immersive et sensitive, elle a pour décor les vignes arides des Corbières, les caves humides des montagnes d'Ariège, la chaleur étouffante des fêtes estivales. C'est une ritournelle bouclée dans laquelle s’enchevêtrent des vendanges chapardées, des distillations pirates, des mises en bouteilles festives, des cuves qui bouillonnent, et des vins qui n'ont pas le temps de vieillir.

Artist bio:
Ma pratique s’inscrit principalement autour de la création sonore et du documentaire. Mais j’aime aussi faire des images, qu’elles soient dessinées, en cyanotypes, sérigraphiées, gravées, filmées, et j'aime aussi travailler avec des archives. J'ai fait des études d'anthropologie, les  Beaux-Arts et un master de réalisation documentaire. Je travaille actuellement avec deux collectifs d'artistes, les Obliques et la Disquette, avec lesquels on fait des fresques, des dessins, des installations vidéo et sonores, des documentaires, des ateliers et des balades sonores. Je participe également ponctuellement avec les copines aux émissions de radio les Menstruelles et Alerte Météo Terre.

Website/social links
https://cargocollective.com/ladisquette/qui-est-LA-DISQUETTE
https://lesobliques.me/
https://www.instagram.com/eemilieroutee/

1 Dixie Treichel - Beyond Reach (2:57)
2 M. Cristina Marras - Window of Contempt (5:29)
3 The Keeling Curve and Nastassja Simensky - Atoms-on-the-Wall : Slow Rotations (22:52)
 
 
1) Dixie Treichel - Beyond Reach

Beyond Reach is an experimental sound art composition listening for the far aspects
of the environment around us that we might ignore. It was created with field recording, piano and found sounds.

Dixie Treichel is a composer, sound artist, sound designer and radio broadcaster.
She is a sonic explorer who likes creating with any and all sounds, generating rich sonic textures that invite the listener on a journey into the unknown. Her works have been heard internationally on radio, in art galleries, sound art festivals, new music concerts, theaters and streaming festivals.
https://soundcloud.com/dixie-treichel

 
2) M. Cristina Marras - Window of Contempt

This story reflects my own regret over how I behaved during the lockdown. Stuck in my apartment, my only view of the outside world was through the window, where I watched my city become eerily empty. The silence was broken only by the sound of ambulances. Fear and paranoia took hold of everyone, and I remember how even a simple cough from a neighbour filled me with suspicion.
One moment still haunts me: I saw two teenagers kiss in the street, and instead of feeling joy at their connection, I was consumed by anger and judgment. I feared they were putting their families at risk. Now, I’m ashamed of how I reacted. I wish I had embraced their moment of love instead of giving in to fear. Looking back, I see how easily fear distorted my perception, making me forget what really matters—compassion and hope.

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.
https://www.cristinamarras.com/
https://soundcloud.com/kommunic8

 
3) The Keeling Curve and Nastassja Simensky - Atoms-on-the-Wall : Slow Rotations

Atoms-on-the-Wall : Slow Rotations is an continuation of the collaboration between electronic music duo The Keeling Curve and artist Nastassja Simensky. Atoms-on-the-Wall explores the landscape of the Blackwater Estuary, home to a Special Protection Area, Site of Special Scientific Interest, the Othona pacifist Christian community, 7th century chapel St Peter-on-the-Wall, and the decommissioned Bradwell A nuclear power station. It is also the location of the planned Bradwell B station which will cover an area roughly 5 times the size of Bradwell A. Atoms-on-the-Wall: Slow Rotations incorporates spoken text into a musical soundscape composed for violin and modular synthesizer. The live violin sound is picked up and processed by the synth alongside field recordings from the local area including badgers and birdlife, the bars and echoes from the power station, and the singing of the Othona community.

The Keeling Curve is an electronic music duo comprising composer Will Frampton and violinist Rhiannon Bedford. They make work exploring environment and place. They have received funding awards from Sound and Music and Arts&Heritage and their work 'Mersey Beat' was shortlisted for the Inaugural Tippett Medal in 2021. Nastassja Simensky is an artist who often works collaboratively to make writing, place-specific performances, events, sound work and films as a form of ongoing fieldwork. Nastassja is currently completing a PhD at the Slade and coordinates the Archaeology-Heritage-Art Research Network at UCL.
https://linktr.ee/keelingcurve
https://www.instagram.com/the_keeling_curve/?hl=en
https://www.instagram.com/nastassjasimensky/
https://linktr.ee/Nastassjasimensky

4 Jeff Gburek - Heliopathy 1 (8:56)
5 SOAK LAB - Rock Pool (6:37)
6 Antoni Hidalgo - h_man (9:59)
7 Giovanni Dibeltulu - Happiness is a warm dub (1:01)
 
4) Jeff Gburek - Heliopathy 1

After several month traveling and recording Very Low Frequency radio waves and taking measures to anticipate probable Schumann resonances from locations, I have begun generative compositions with whole recorded segments and sampled fragments whille keeping the radio antenna window open locally. Most of these recordings took place during the Coronal Mass Ejections and resultant geomagnetic storms of 2024 as we reach solar maximum.

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

 
5) SOAK LAB - Rock Pool

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 radio and installation. 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 practises, 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) Antoni Hidalgo - h_man

I think human dignity is the foundation of our society. It's essential to respect each other and create a fair society that looks after the environment

But human dignity is being challenged by armed conflicts and globalization

Article 1 of the Charter of Fundamental Rights of the European Union says: "Human dignity is inviolable. It must be respected and protected.”

But what happens if I say that sentence without the vowels U (from Union) and E (from European)?

“H_______man dignity is inviolabl______. It m______st b______ r_______sp_______ct_______d  and prot______ct______d”

That's the sentence I used in the work H_man. It was hard to say the words without the vowels. I made a lot of mistakes, and my voice was nasal and weird. I was out of breath, coughing, and overall, I felt really uncomfortable

Maybe it's the same discomfort many people feel

(Music by Antoni Hidalgo)

Antoni Hidalgo (born in 1969) is an artist based in Mollet del Vallés, Barcelona. He studied Labor Relations at the University of Barcelona and took painting courses at Escola Massana, Art and Design School. His current work focuses on experimental music and video art
https://selenics.blogspot.com/

7) Giovanni Dibeltulu - Happiness is a warm dub

The piece, composed in 2024, whose title is clearly obtained by paraphrasing a famous Beatles song, is inspired by dub culture: the main intent, however, is to give it an electroacoustic imprint. It is a “lysergic” journey that takes the mind away from everyday problems, those that compromise our well-being, our happiness.

Giovanni Dibeltulu Sassari, 1967 is an Italian self-taught musician. Since 2022 he has been part of the electronic duo LanD ExcapE, founded by the musician
and visual artist Gavino Ganau. Your piece "Happiness is a warm dub" was broadcast on the Radioarte (Siena, Italy) and Radio Tsunami (Valparaiso, Chile). The same piece was broadcast on onaironsite.com "Programme 2024" (West Den Haag, Netherlands).
https://www.facebook.com/landexcape/

After the Crisis investigates the possibility (or rather, impossibility) of crisis aversion by re-presenting the thought of US military historian Roberta Wohlstetter, who with her husband Albert Wohlstetter, significantly impacted the military and nuclear strategy of post-war United States. It presents a spoken performance of Roberta Wohlstetter's publication, Cuba and Pearl Harbor: Hindsight and Foresight, which uses information theory to analyse the successes and inevitable failures of the United States' ability to predict and a prevent national catastrophe during these two events. By omitting the specific details from these events that were originally written into the text, the performance lays bare a narrative that both addresses and produces the crises shaping international conflict today. Centering the US military machine, the resulting work exposes the limits of a seemingly unyielding power, the perils of hindsight, and questions the ends of endless information collection in a world with multiple, uncertain futures.

Artist bio:
Jacob Weinberg (b. 1991, Harrisburg, PA) makes work that highlights slippages between the technical and social dimensions of inherited institutions. Working across media, including video, sound, and installation, he operates within the details of mechanisms that both haunt and shape contemporary conditions of rationality, uncertainty, and subjectivity.

Website/social links
http://www.jacobweinberg.net
@wacob_jeinberg

This 3 track sonic journey celebrates and honours the voice and presence of our most ancient ancestors, rocks and trees.
Recorded in 2024, the work presents poems written in English and Italian.

Sonopoems and Field recording for ‘La Calcara’ and ‘Spectres’ tracks taken by Ilaria Boffa at Grotte di Zungri (Southern Italy) using Zoom H6 recorder and JRF D-series hydrophone. Performance on violin and vocals by Ida di Vita; vocals by Fabio Nicora.

Sonopoem and Field recording for ‘The Cedar Ballad’ taken by Ilaria Boffa in Fes and the Cedarwood Middle Atlas (Morocco) using Zoom H6 recorder and JRF C-series contact phone.

Artist bio:
Ilaria Boffa is an Italian poet and sound recordist. She writes bilingual poetry and she has published four poetry collections to date. She is one of the eight authors included in the North East American Publication ‘Writing in a Different Language’ Vol. XL 2018. Her sono-poems, which combine poetry and field recording, have been played at international experimental sound art festivals, radio events and film festivals. She is a permanent member of EAPS international collective working with poetry and sound art and she is collaborating with the Swiss theatre group ‘Collettivo Treppenwitz’.

Website/social links
https://linktr.ee/ilariaboffaIB
https://soundcloud.com/ilaria_boffa/
https://www.instagram.com/ilaria.boffa/
https://www.facebook.com/ilaria.boffa.IB/

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


Artist bio:

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


 
http://sharksillustrated.org

instagram: mccarthysharks

Drawn and twisted focuses attention on the sonic qualities of the heritage machines housed in the National Wool Museum of Australia. The work explores the stages of processing wool from raw fleece into commercial products. It portrays an interweaving of the hardship and prosperity inherent to the history of manufacturing sheep’s wool from herding to shearing to finished product. The process yields the thread of comfort and warmth brought to the world in the form of clothing, jackets, blankets, and socks. It has also polluted waterways adjacent to mills where the wool is cleaned, trampled the grasslands to dust with the herding of sheep, and impinged upon the freedom and vitality of indigenous people. Drawn and Twisted is a listening towards a future in which the knowledge from as yet untold stories and perspectives is foregrounded, where a reverence for the land embraces a returned vitality to its native grassland.

Artist bios:

Steve Ashby is a musician, composer, and sound artist based in the United States. Ashby work focuses on sound found in the natural and digital world to discover places of intersection which engage in the art of listening. Recent performances and residencies include ICMC 2022, Soundpedro, Moxsonic, EMS Stockholm Guest Composer Series, Radiophrenia Scotland, Cube Fest at Virginia Tech, New Music Gathering, Sound Arts Richmond, and the NYC Electroacoustic Music Festival.

Vicki Hallett is a versatile musician, field recordist, sound artist, composer, music practitioner and educator. Her focus is to record, compose with, and feature the ever-diminishing habitats and species of our planet. Highlighting unique sounds from the micro to the macro, Hallett utilises sounds we rarely or cannot hear. She has composed, produced and performed in live concerts, international conferences, solo recordings and videos ranging from chamber music to exploratory work with sound art. Hallett travels the world recording nature’s sounds as well as performing in acoustically interesting environments including Mabolel Rock (South Africa) with a pod of Hippopotami and the Amazon jungle.

Website/social links
https://ashbysounds.org/
https://www.vickihallett.com/

By editing 20 years of oral memoirs of people collected in the valleys of Trentino, I “embroidered” a synchronized discourse of memories, views on life, affections, individual and collective stories. To be listened to together while weaving one's own story.

Artist bio:
I am a professional multimedia artist with 20 years of experience in sound and video art, project management, education, and cultural community initiatives.

Website/social links
https://www.saramaino.it
https://www.flickr.com/photos/saramaino/albums/72177720320156327

Johnny Dixon - Daily Bread  2 (5mins)
Cerpintxt - Exiled to the Hemisphere of Utterance  (2:24)
Brunhild Ferrari & Christoph Heemann - Stürmische Ruhe Part 2 (15:51)
 
 
1) Johnny Dixon - Daily Bread  2
 
Using small white single-use plastic items from everyday foodstuffs visual scores have been created on a black background. A vocal sound palette is suggested and in the six five minute sound pieces used for four voices to render the plastic pieces as imagined fragments of letters of the Roman alphabet. The scores can be viewed and listeners are invited to soundalong with the pieces by using the palette and following some basic suggested instructions - or by using their own sounds. The scores and the palette can be read here https://daily-bread-rp2025.blogspot.com/2025/02/?m=1

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

 
 
2) Cerpintxt  - ‘Exiled to the Hemisphere of Utterance’ 
 
An excerpt from the ‘Refugees of the Symbolic Network’ iteration presented at Another Sky Festival in Cafe Oto, 2024. The piece is derived from Izz al-Din Manasirah's resistance poem 'Acid Rain', which I rearranged into cutups to form verses such as:

"I hear the wind with my nails
And when life and death were cast out, embracing,
To the last rock that overlooks the abyss,
I was exiled, naked, from the paradise of forgetting
To the paradise of the word.
It floats on the barricades stained with blood, and from violence,
From the long patience stripped of slaves, this need that overflows
Into the vessel filled with torn stars.
This is the forbidden land
Where the living are separated from the dead."
 
 
3) Brunhild Ferrari & Christoph Heemann - Stürmische Ruhe Part 2

J'ai pensé sans paroles - Duo performance by Luke Fowler and David Grubbs with sound material provided by Brunhild Ferrari. Recorded live at the Glad Café, 15th March, 2025 at a special Radiophrenia pre-festival event. Luke Fowler is an artist, filmmaker, and musician based in Glasgow. Fowler creates poetic portraits with 16mm and archival material. His most recent series N’importe Quoi focuses on the life and work of Brunhild Ferrari, whilst previous subjects include radical psychiatrist R.D. Laing, Marxist-historian E.P. Thompson, Scottish filmmaker Margaret Tait, and Fowler’s mother, the sociologist Bridget Fowler. He is represented by The Modern Institute and Gisela Capitain Galleries and is a core member of the groups Rude Pravo, Lied Music, and AMOR.   David Grubbs is a musician and writer based in Brooklyn. He was a founding member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, Loren Connors, Susan Howe, and many others. His books include Good night the pleasure was ours, The Voice in the Headphones, Now that the audience is assembled, and Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (all published by Duke University Press). Grubbs is a 2024-25 Berlin Prize recipient from the American Academy in Berlin as well as Distinguished Professor of Music at Brooklyn College and The Graduate Center, CUNY.   BRUNHILD FERRARI: “Like most of my fellow human beings, I was born, I grew up, I attended schools, I passed exams, I failed, I loved, I worked hard sometimes, I enjoyed life; I continue. I worked with Pierre Schaeffer in the ORTF research department on the relationship between sound and image. Of German origin, I have had an activity as an interpreter and translator. Following Luc Ferrari's advice in matters of life, music, and composition, and working with him over the course of our 40 years together, I made my own Hörspiele and radio plays broadcast on France Culture, in the United States, and the main German radio stations. Since Luc left us in 2005, I have taken care of the preservation of his vast archives; founded the "Association Presque Rien - Friends of Luc Ferrari"; initiated and organized the biennial

Choeur tact-til, a mixed sighted and non-sighted vocal ensemble, discovers multiple resonances with Japanese musical practices, and sets off to meet the Goze, nomadic Japanese blind women musicians. Radio Gose Ghoeur Nomade, a sound trip from Hokaido to the Kansai forest by Alex Quérel with the complicity of Natacha Muslera. With sound recordings by : Alex Quérel, Mélodie Duchesne, Lionel Marchetti, Natacha Muslera Voices by : Kojiro Hirose (ethnomusicologist), Ryosuke Shiina (musicologist, musician and translator) And from Choeur tac-til : Mafalda Da Camara. Mélodie Duchesne, Chérifa Harzallah, Bruno Raby, Alex Quérel, François Parra, Natacha Muslera, Franck Omer, Angélique Huguenin Artist bio: Alex Quérel is vocalist in the Choeur tac-til and radio reporter since 2010 for different community radio in France.

1) Gustavo Chab  - Flutervoice II (8:24)
2) Jo Kennedy - Now That You Ask (5:00)
3) Dixie Treichel - Pointing Away (2:19)
4) Eleni-Ira Panourgia  - Soil narrations (6:34)
5) Ralph Hoyte – The Voyage of the Slaver the Snow Africa 
 
 
1) Gustavo Chab  - Flutervoice II

Flutervoice II is a piece for flute and electronic sounds in quadraphonic format. It has an approximate duration of 8 minutes and was composed during the year 2021. There is the possibility of defining it as an acousmatic piece to be spatialized in 8 channels together with the original recording in stereo format, which includes the participation of the flutist Patricia García. Flutervoice II emerges from previous experiences that manage to redefine themselves. Different treatments of the material of the instrument such as air sounds, vocal and percussive sounds that are used through different procedures. There are actions that can be played inside or across the Instrument; air sounds with vowels and consonants are combined to achieve different colorations which are represented using abstract notation. Performance in transit requires a medium and slight resonant place and amplification to achieve a fluent and expressive environment in balance with the fixed media;

Gustavo Chab Argentina-Spain (b. Buenos Aires, 1964) Composer of mostly electroacoustic works that have been performed in the Americas and Europe. He composed his first electroacoustic piece in 1993, specializing in composition techniques in electroacoustic. His compositions include multi-channel electroacoustic pieces, radiophonic work and performances. Frequently explores the spatialization of sound in composition, combining instruments and electroacoustic sounds.
https://gustavochab.blogspot.com/p/bio.html
https://www.facebook.com/gustavo.chab.1/

 
2) Jo Kennedy - Now That You Ask

A piece of queer sound art giving voice to those (human and more-than-human) less often heard.  Inspired by the theme of Mummurations.  Created in response to a call-out for audio and visual pieces by safe+sound for their beach hut installation at XMTR Audio Arts Festival, St Leonards-on-Sea, September 2024.  Composed from field recordings, musical material and recorded chats with friends.  The bird you hear is a Nightingale and was recorded at Knepp,West Sussex, - a 3500 acre estate that has ditched farming in favour of rewilding.  Once absent, Nightingales are now in resurgence and love the scrubland habitat.

Jo Kennedy is a Todmorden – based sound artist  who uses field recordings, found sounds, spoken word and music to create immersive audio experiences, whether these be fixed pieces, soundwalks or installations. Recent commissions include sound design work the Artichoke Trust, BBC Radio 3 and the RSPB. Her creative practice often engages explicitly with ecological issues, responding to questions about our relationship with the landscape and living world. This piece is instead an exploration of her queer identity and maybe the start of a larger auto-ethnographic audio-based investigation into living through the 20th & 21st centuries as a lesbian.
http://www.jokennedysound.com
X; @chasingsticks
Instagram:  jokennedysound

 
3) Dixie Treichel - Pointing Away

Pointing Away is an experimental sound art collage exploring the possible directions
we might go and choices we make every day.

Dixie Treichel is a composer, sound artist, sound designer and radio broadcaster.
She is a sonic explorer who likes creating with any and all sounds, generating rich sonic textures that invite the listener on a journey into the unknown. Her works have been heard internationally on radio, in art galleries, sound art festivals, new music concerts, theaters and streaming festivals.
https://soundcloud.com/dixie-treichel

 
4) Eleni-Ira Panourgia  - Soil narrations

'Soil narrations' (2024) is a sound experimentation that uses processed geophone recordings to explore ecological and listening perspectives in soil. Soil signals transmitting the activity of organisms are transformed to create audible manifestations that emphasize non-human movement, communication and perception. Speculative sonic narratives are developed to propose ways of attuning to non-human processes and relationships through an interplay across textures, frequencies and rhythms. The generated sonic events invite listeners to engage with an underground sensory experience of environmental change from the earth’s perspective.

Eleni-Ira Panourgia is a sound and visual artist, and researcher. Her work focuses on the development of new forms of expression and creative methods that combine sound, objects, spaces and environments. She explores the potential of such complex morphologies within artistic, design, social and ecological processes. Eleni-Ira’s work has been presented internationally in museums, galleries, festivals, exhibitions, radio shows, academic journals, edited volumes and conferences. Eleni-Ira completed a PhD in Art at the University of Edinburgh as a Scholar of the Onassis Foundation. She is currently a Teaching and Research Fellow at Gustave Eiffel University.
https://eleniirapanourgia.com/

 
5) Ralph Hoyte – The Voyage of the Slaver the Snow Africa

Arrangement of content - specifically the voyage of the Snow Africa - from 'Colston's Last Journey', Ralph Hoyte's work of located soundart about Bristol and the Transatlantic Trafficking of Enslaved Africans.
Concept, script, director, producer: Ralph Hoyte
Voice Actors: Alan Coveney, Jade Fearon, Kerry-Ann Waison, Aaron Iyiih, Ralph Hoyte
Music/Ambient: Phill Phelps, Saki Yamada
Colston's Last Journey - the work of located soundart - was supported by Arts Council England, Bristol Ideas & the University of the West of England Regional History Centre

Ralph Hoyte is a Bristol-based, poet, writer and located audio designer (audio triggered on location on your smartphone). As a poet, Hoyte writes for his voice or for multiple voices, his work tending towards the epic in length. Hoyte is a Visiting Fellow at the University of the West of England (Faculty of Arts, Creative Industries and Education) and a Resident of the Pervasive Media Studio/Bristol. Current projects include Riot1831, geo-locating the 1831 reform riots in the Georgian West country, and Colston’s Last Journey – a work of soundart whose theme is Bristol and the Transatlantic Trafficking of Enslaved Africans.
https://ralphhoyte.org/
https://satsymph.co.uk/
https://colstonslastjourney.uk/
https://quantockpoetrytrail.uk/
Instagram: hoyte.ralph
FB: Ralph Hoyte - poet, writer, located sound designer

6) Helen McCrorie - Dawn, Spring 2020 (9:00)
7) Andrew Ramsey - Sonic Glasgow (2:41)
8) Droki Ouro – grind (8:00)
9) Eoin O'Sullivan - Oslo-Copenhagen (9:53)
10) andre birken - 31 monstrous demonstrations EFFO ISN I (0:27)
 
 
6) Helen McCrorie - Dawn, Spring 2020

An intimate sound work, recorded in the first few weeks of the first lockdown, Helen captured the dawn chorus from her bedroom window early one morning. At this time the sounds around us began to change; there were few cars and planes, wildlife thrived, but also how we paid attention to these sounds and to our own breath changed. Sometimes they seemed to carry new meaning, sometimes they seemed to echo or contrast with our emotional state.

Helen McCrorie is an artist based in rural Scotland, working in film, video and sound, having lived in France, Singapore and Hong Kong. She makes films and sound works that explore sites of work, play and learning, and often feature collaboration with community groups. Her work features in UK & international exhibitions and festivals including a solo show in Travelling Galllery 2024, Radiophrenia and Cine Astra 2023; London and Glasgow Short Film Festivals, Alchemy, Offline, Experiments in Cinema, Braziers-winner of Glaister Award (2022), The Tetley and solo show at COLLECTIVE (2019) Her BBC/Lux Scotland commission was broadcast on BBC3 (2021)

@helenmccrorie

 
7) Andrew Ramsey - Sonic Glasgow

This is a collection of field recordings captured in Glasgow, Scotland. Using microphones such as the SOMA Ether and LOM Geofone, I am able to capture sounds of the city that are not normally audible. Allowing an unheard soundscape of the city to make an imprent on the listener in ways they would not normally experience, while also using recordings of ambiences collected throughout the city to draw attention to ones surroundings. The focus of my work is the sounds of ones environment and the more conviental musical elements are used to enhance the feelings I find portrayed within the recordings.

My name is Andrew Ramsey, I am a sound designer and audio artist originally from Louisville, Kentucky. I relocated to scotland to originally persue a MSc in Sound Design at the University of Edinburgh. I now live in Glasgow, Scotland and work as a sound designer at Junkfish games. My other audio practices heavily focus on field recording, acoustic ecology, and deep listening practices in order to draw attention to ones surroundings through sound.

andrewramseysounds.com
https://www.instagram.com/andrewmunro47/

 
8) Droki Ouro – grind

Approximately five hundred billion plastic cups are used each year, of which roughly six billion end up in landfills. grind attempts to symbolize the faulty business and political ideologies that ultimately contribute to a lack of environmental sustainability through the destructive morphology of a single sound source: a plastic Keurig coffee pod hitting the floor.

Droki Ouro is a composer framing pictorial properties found in visual art, namely color, shape, balance, and space, with organizing principles of philosophical, sociological, and metaphysical intent. Their music has been commercially released with Navona Records, PARMA Recordings, and RMN Music. Droki currently serves as Assistant Professor of Music Technology in Knoxville, TN.
https://www.drokiouro.com

 
9) Eoin O'Sullivan - Oslo-Copenhagen

This ambient piece was recorded during the night aboard a commercial ferry traveling from Oslo to Copenhagen. It represents the growing trend toward alternative modes of international travel that bypass the need for flying. The absence of human sounds evokes a melancholic awareness of the passenger that the turn to more sustainable transport may have come too late, leaving behind only the lifeless shells of machines and a nature indifferent to mankind.

Eoin O'Sullivan is an audio producer, writer, and improvisational performer based in Scandinavia.


10) andre birken - 31 monstrous demonstrations EFFO ISN I

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

Situated on the lower tidal reaches of London’s river Lea, Cody Dock is a centre for arts, community, culture and learning. Promoting collective ownership of Cody Dock and welcoming people of all ages, abilities and backgrounds to join in the restoration of the dock itself and a celebration of the Lea River.

Originally presented as a 6.1 sound installation on the site Confluence takes cues from a recent ecology report detailing the wealth of unexpected biodiversity within Cody Dock’s superficially industrial and urban location, and looks to highlight this often hidden and unsung web of more-than-human life through sound recordings made during an extensive period of listening and field recording.

The work draws on material gathered with various field recording methodologies including ‘drop rig’ overnight recording setups, ultrasonic bat monitoring devices, audio from a riverside hydrophone listening station, as well as underwater soundscapes from the river, dock and pond, alongside contact microphone recordings of hidden vibrations within the site’s plants and soils.

A special thank you to the creatures whose voices feature in this work, including those from the River Lea whose identities remain a mystery.

Confluence was created as the result of Cody Dock's 2023/4 Lighting Up The Lea environmental arts commission. With support from Cockayne Grants for the Arts, The London Community Foundation and National Lottery Heritage Fund.

 
Biography

Tom Fisher is a sound artist and musician working primarily under the name Action Pyramid. His projects vary from site-specific sound installations for galleries and museums, to experimental radio works, documentary film and music.

His creative practice involves using sound and composition to facilitate a reconsideration of our surroundings, examining the relationship between ourselves and the nonhuman, and our part in the wider ecologies of landscapes.

With a multitude of recording techniques, often aimed at exploring and re-interpreting the seemingly unnoticed and unheard elements of our surroundings, he looks to present compositional and spatial expressions of these acoustic phenomena in a way that attempts to offer up alternative perspectives regarding perceptions of scale, hierarchical bias and the interconnectedness of living things.

His work has been featured at LUX, Tate Modern, Tate Britain, Cafe OTO, The Grant Museum of Zoology, London Transport Museum, Project DIVFUSE, Cody Dock (UK), Musée Réattu, Bibliothèque Nationale de France & Jardin des Plantes (FR), the Fjuk Art Center and Husavik Whale Museum (IS), as well as on BBC Radio 3 & 4, Resonance Fm, Radiophrenia, and as part of Archipel Festival (CH) & Open City Documentary Festival (UK). He is the recipient of Phonurgia Nova Award 2021 in the Field Recording category.
He has also led numerous workshops in collaboration with Goldsmiths, University College London and University of the Arts London and participated in artist residencies at RIVERSSSOUNDS (Online/Ukraine/Romania), Fjuk Arts Centre (Iceland), and BioArctica (Finnish Arctic).

In addition to his independent projects Fisher writes and performs music as a member of the band ILK, with their debut album being released in collaboration with Matthew Herbert (New BBC Radiophonic Workshop) in 2017 on Herbert’s Accidental imprint. This release was followed by a remix EP in 2018. The band have played shows with some of London’s most noteworthy promoters including Eat Your Own Ears and Parallel Lines. Both ILK and his solo music have received airplay on BBC Radio 1 & BBC 6 Music.


@actionpyramid
+447905554346

Artist website / http://www.actionpyramid.com/
Commercial work portfolio / tomfishersoundportfolio.com/

Rekindling (for Crae) is a collage of listening and trawling for recollections of emotions within archival interviews and the emotional arc of activism. It is a meditation on hope after defeat. The piece travels through the waves, rips, currents, ebbs and flows of turning tides, and is carried by voices spanning lifetimes of commitment to building something better. Accompanying them the music is inspired by and composed from a recording of a young child’s first exploration of a piano.   The spoken excerpts are all from the Women in Communism interview series recorded by Neil Rafeek  held at the National Library Scotland’s sound archive. (the voices you hear are  Jessie Clark, Marion Henery, Jean Mackay, Frieda Park, Isa Porte, Jenny Richardson and Christine Sloan).Protest Sounds recordings by Bex, Bobby Jewell and Steven Myles.  Insta: @bexsik

A hotel in a city with a local brewery, with its ventilator below the hotel window. It was “breathing” with a regular rhythm, adding its drone to many city sound solos from car drifting competition to morning birds recorded from the afternoon to the following morning. Depending on mode of listening it forms a collage of various known sounds objects or a complex, noise and harmonic sound composition. This is an audio timelapse, maintaining sequence and rhythm of events, created based on 18 hours of my  recordings (Lublin, 20.04.2024, 3 pm - 21.04.2024, 9 am) closed into 15 minutes. Artist bio: Dorota Blaszczak works in radio archives and at University of Music in Warsaw. She teaches interactive sound, works with sound preservation, creates audio works and interactive projects, some based on long-term ecoacoustic observations. She has designed sound for VR and early computer games. Website/social links dorotablaszczak.pl

Petra hoc’h eus kavet? (what did you find?) This piece explores memory, loss, and cultural erasure through a phone call with my late grandmother who passed away in January 2024. In the conversation, she recounts her childhood in Brittany and sings “Petra hoc’h eus kavet, Yannig?” (What did you find, Yannick?)—a Breton song passed down orally from her grandmother. Once suppressed in France, the Breton language has now sadly been lost to our family. In my grief, I reach for lost connections, relying on imagination to fill gaps.

For the piece, I played back and re-recorded her song in a room until only the resonant frequencies shaped by the melody remained, which I then further manipulated through granular synthesis to create a new sonic language. Processed ocean sounds recorded at Westport Beach evoke Brittany’s shores, symbolizing transformation and erosion. This piece reflects on how audio processing can reimagine cultural loss and give rise to new sonic narratives.

Artist bio:
Matt Robin is a Glasgow-based sound artist, musician, producer and a member of the band NEY. His practice spans experimental composition, collaborative improvisation and sound design. His electronic work explores raw textures and elements of drone mixed with rhythms that shift between controlled pulses and chaotic bursts — often paired with acoustic drums, percussion and other electroacoustic instruments. Matt’s work dissolves boundaries between sound and sensation, engaging both body and ear. He also experiments with field recordings, manipulating fragmentation, error, and decay to reshape meaning, create new sonic narratives, and invite listeners to reimagine time, place, and memory.

https://www.instagram.com/mattemattik/profilecard/?igsh=bmlqaHhnNTlqazFp
https://www.instagram.com/n___e___y___?igsh=MXhmdHI2cmJiM3ZodQ==

1) Mattia Benedetti - doorframes covered in masking tape (7:31)
2) Pete Stollery - Quiet City (12:12)
3) Dougie Taylor - The Midden (7:00)
4) Gracchi Administration – Other People (13:50)
5) Holger Mohaupt - CROSSTOWN - From Hell's Kitchen to Turtle Bay on the quietest day of the year (17:10)

 
1) Mattia Benedetti - doorframes covered in masking tape

doorframes covered in masking tape is a piece that employs percussions, concatenative synthesis and voice fragments to explore an empty space.
Warehousing - corporations buying entire floors (entire buildings) just lo leave them empty and raise the prices. At the center of our cities, this creates a vacuum - a space barely seen, barely existing.
The piece is not a naturalistic description - it’s a vaguely distorted mirror of the subjective feelings this kind of liminal space evokes.

Mattia Benedetti is a composer. He lives in Venice.
He's trying to create music that resembles an open world, without a centre but full of internal connections and ambiguous self resemblances.
He's trying to create music that resembles an island, isolated from everything, an extreme habitat where only endemic organisms lives.

 
2) Pete Stollery - Quiet City

I crowdsourced details of a number of locations in Aberdeen where the sound had changed as a result of COVID-19 lockdown. I received many perceptive reflections on what those changes meant to people and how these presented challenges for others, e.g., the pedestrianisation of part of Union Street which, for many, brought a welcome place to dwell and enjoy the calm of a relatively quiet place; however, the lack of access to this part of Union Street by buses meant a longer and more inconvenient journey to the shops for those with mobility issues. Quiet City is an immersive work, using recordings from these locations, which moves from recognisable (and some unrecognisable) soundscapes through non-real world transformed soundscapes reflecting on a sonically changed city and how we relate to it.

Pete Stollery studied composition with Jonty Harrison at the University of Birmingham, where he was one of the first members of BEAST (Birmingham Electroacoustic Sound Theatre) in the early ’80s. He composes music for concert hall performance, particularly electroacoustic music and more recently has created other sound art work, including installations and internet projects. In 1996 he helped to establish the Scottish acousmatic collective invisiblEARts and in 2004 he was part of the setting up of sound, a new music incubator in NE Scotland. His music is published by the Canadian label empreintes DIGITALes.
http://www.petestollery.com
http://www.petestollery.com/quietcity

 
3) Dougie Taylor - The Midden

The Midden is a live sound art performance that uses a piece of fly-tipped urban waste ground as a site for unearthing hidden sonic histories. Using multiple looper pedals, contact mics, bone conduction speakers, field recordings and discarded midden objects reimagined as sound sculptures, a slowly shifting collage of long asynchronous loops builds and decays through various moods and textures. No effects are used, instead the inherent resonance of the objects is allowed to speak. The field recordings are played through bone conduction speakers which are then used as a vibration tool to resonate metal objects. The sound sculptures are played using feathers, animal bones, violin bow and broken piano parts. The overall effect is delicate, shimmering, gamelan-like, transcendant and maybe a bit melancholy.
The term “midden” refers to ancient refuse heaps, inviting listeners to reflect on the history and stories embedded in modern waste.

I am a 56 yr old neurodivergent artist (ADHD / autism). For decades I made art, but never felt able to share it. Recently this has changed and I have begun performing and making installations. I’m interested in finding ways to use the poetic qualities of litter as a material and sound source for art making. Restricting my materials to litter means the work evolves in a haphazard and improvisational way. Fundamentally my work is about blurring the boundaries between the various human and non-human worlds.

 
4) Gracchi Administration – Other People

Other People is a work created with found sound. A binaural headset microphone was used to capture the sounds of different spaces. The resulting material was spliced together with other instrumental sounds to create a moving sonic montage of spaces. It explores the rhythm of language and voice as a contrapuntal device. Here, any aesthetic meaning is not conveyed through the semantics of the language, but through its sonic texture. Inspiration for this work came from Glen Gould's experimental radio piece, "The Idea of North".

Aedan Mollen creates sound work under the "Gracchi Administration" name.
He is a multi-instrumentalist working in London.
His main interests are sound installation, radio works, audio visual composition and field recording.
https://vimeo.com/user15535459

 
5) Holger Mohaupt - CROSSTOWN - From Hell's Kitchen to Turtle Bay on the quietest day of the year

The experience of our present day city in every day life is increasingly a hybrid one, it is made up of both physical and mediated experiences that mutually influence, extend or contradict each other.
Urban culture has always been a negotiation between the spatial embodied ideals of architects and the messy practices of everyday life.
CROSSTOWN is a sonic travelogue across Manhattan on a bike along 42nd street. It was recorded just after sunrise on 4th July, American Independence Day, ‘the quietest day in Manhattan’, according to the waiter in the diner around the corner from our hotel. 42nd street was part of the commissioner’s plan of 1811, establishing the Manhattan street grid. It is one of the 15 original crossroads, 2 miles long and 30 feet wide.
 
Holger Mohaupt is an artist and filmmaker based in Scotland. Born in Germany, Holger studied visual communication and anthropology at the Art Academy in Hamburg and completed his PhD at Duncan of Jordanstone College of Art & Design in Dundee.
His distinct audio and lens-based work has been broadcast and exhibited internationally at festivals and in galleries.
Holger’s current research practice is informed by his interest in immersive narratives and the navigation of landscapes. Holger is senior lecturer in Film Studies at Liverpool John Moores University.

insta: @room_8

First Person Plural #2 is the second iteration of a performance featuring live, digitally cloned, and recorded voices. The work delves into the elusiveness of truth and identity, weaving together accounts of public deception from early radio and contemporary media with text that explores themes of collective listening and the desire to be witnessed. First Person Plural was originally performed and broadcast live in 2024 at Atelier Gallery in Philadelphia.

Artist bio:
Alicia Riccio is an artist and educator currently based in Brooklyn, NY. Working with video, sound, print, and performance, their practice fragments and interpolates language to subvert histories and the authorial voice in an expanded exploration of care, loss, and queerness. Riccio is a graduate from the University of Pennsylvania's MFA program and SMFA at Tufts University’s BFA program. They were a 2021-2022 participant of The Interdisciplinary Art and Theory Program and attended the Banff Centre for Arts and Creativity Thematic Residency in 2024. Selected exhibitions include, Elizabeth Foundation For the Arts (New York); Tiger Strikes Asteroid (Philadelphia); Atelier Gallery, (Philadelphia); M.A.R.S at Engaru Metro Plaza (Hokkaido); Charles Addams Gallery (Philadelphia); Heroes Gallery (New York); Estudio Marte 221, (Mexico City); Rinomina, (Paris); Galería Agustina Ferreyra LLC, (San Juan); New Art Center, (Newton).

Website/social links
website- aliciariccio.com
instagram- alicia__riccio

1) Cerpintxt & Ruben Sonnoli - Precursor Events (1:23)
2) Phoebe McIndoe - Red of Visibility (9:53)
3) Jakov Munižaba & Marija Stojnic - Shrub acoustica (8:00)
 
 
1) Cerpintxt & Ruben Sonnoli  - ‘Precursor Events’ 
 
An excerpt from a liveset performed at IKLECTIK Art Lab in Boundary Condition, 2022.


2) Phoebe McIndoe - Red of Visibility
 
Growing up I went to a catholic primary school where the school emblem and colour was red. We had a visiting doctor who would see us in the head mistress' study without our red uniforms on. In this red space I had my first experience of bad touch. Or as I now call it, sexual assault. This piece is an attempt, years later, to explore and reclaim the colour red.

Artist bio:
Phoebe McIndoe is an award-winning radio journalist and co-producer of the podcast Telling Stories which featured in Bello Collective's top 100 Outstanding Podcasts and was nominated for most Inspiring podcast in the The International Women's Podcast Awards. Her work has been nominated for Prix Marulic, HearSay and 60 Sec Radio.  At the ARIAs her co-production ‘Lights Out: The Last Taboo’, won the Silver Award for Best Factual documentary and her recent work County Lines was nominated by DIG's awards for outstanding international journalism.

Website/social links
http://www.phoebemcindoe.com
@smallaudioart_
@phoebesound
 
 
3) Jakov Munižaba & Marija Stojnic - Shrub acoustica

Shrub acoustica, is a radio play that reinterprets the soundscape of the Botanical Garden “Jevremovac” in Belgrade, and creates a sonic symbiosis between its inhabitants—plants, animals, humans, machines. Delving deep into the inaudible parts of the spectrum, where bats reside and perhaps other yet-to-be-discovered beings, the work invites the listener to merge their perception with the mediated stimuli of the garden and open a new playful space within themselves.
Composed from recordings made in the garden, utilizing temporal sound manipulation, and featuring original composition by Jakov Munižaba performed on the EMS Synthi 100 in the Electronic Studio of Radio Belgrade, this work reveals previously inaccessible and speculative sonic spaces of the garden.
The piece is a part of the collection “Garden of Sound” by Marija Stojnić and Jakov Munizaba, created for the Center for the Promotion of Science, in collaboration with Jevremovac Botanical Garden, and Radio Belgrade, in Serbia, 2024.

Artist bio:
Jakov Munižaba designed sound for over 100 films, many of which have screened at Cannes, Venice, Berlin, and Sundance. He directs radio drama, composes film music, teaches sound in Belgrade and Podgorica, and collaborates with Radio Belgrade's EMS electronic music studio.
Marija Stojnić is a film director, producer and artist-researcher. Her film about Radio Belgrade, "Speak So I Can See You" has screened at MoMA, and at festivals in Amsterdam, Thessaloniki, Melbourne, Munich. She is a co-founder of the vocal group Rosa.

Website/social links
http://www.marijastojnic.com
ig: marija_stojnic, mstojnic
ig: knjigofaci

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

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

Brunhild Ferrari, 24th of February, 2025
 
‘Errant Ear’ is a co-commission between Radiophrenia and Kunst zum Hören, Osterreich 1 produced with the support of Creative Scotland. 
 
CeLe pièce a été composée fin 2024 avec ce sen<ment d'errance, errance dans mes souvenirs que j'ai pu capter avec mes oreilles, mes yeux, mon nez, tous mes sens, des choses dont ma vie est faite et que je garde presque comme des trésors. Ici, je me sens libre de profiter des surprises, de redécouvrir mes souvenirs, de leur donner une nouvelle vie. J'ai eu le plaisir d'u<liser des moments sonores prêtés par Luke Fowler et Luc Ferrari, et je les ai mélangés à mes propres enregistrements récents et à certains de mes archives depuis les années 1970 - parfois avec une joie douloureuse.

Brunhild Ferrari Montreuil, le 24 février 2025

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

Despite Sight (2024) by Kristina Warren is a surreal soundscape constructed from a variety of recognizable, allusive, and opaque sounds. Through its deceptively representative sounds, Despite Sight thematizes the massive contemporary denial of various geopolitical and epidemiological events which can be plainly observed. Artist bio: Kristina Warren (kmwarren.org) is a sound artist and improviser based on Narragansett land also known as Providence, Rhode Island [US]. Described as "beautifully organic" (Peter Bruyn) and displaying "a finesse of timbral traces" (Frédéric Cardin), work by Warren has been presented internationally at venues including Espacios Sonoros [AR], Experimentik [DE], and WORM [NL]. Currently a MacColl Johnson Fellow of the Rhode Island Foundation, Warren previously taught electronic music and multimedia at Brown University in Providence. Website/social links kmwarren.org kmwarren.bandcamp.com instagram: @kmwarren.sound

There is currently a structural water crisis in the Palestinian Occupied Jordan Valley. Not a climate or geographical water crisis, a deliberate socially and politically engineered crisis. Israel, since it invaded the West Bank in 1967, controls every public aspect of civilian life in the Jordan Valley. Israel administers two populations, the Israeli settlers and the indigenous Palestinian residents. Israel deliberately and strategically deprives Palestinian farming communities of access to fresh, clean and reliable water supplies, water that is needed for crops and herds, as well as for the Palestinian farmers and herders.

This can mean either not permitting them to be connected to municipal water supplies, despite the Israeli settlers having such access. It also entails not permitting Palestinian people to sink new wells on their own land, and blocking their access to existing wells and springs, either by fencing off the water source or destroying pipes bringing the water to the herders and farmers. The end result is frequently that either the farmers have to pay extortionate prices to purchase water from the Palestinian authority, or if they cannot afford this option they are forced to abandon their land and way of life.

Featuring the water truck driver, co-activists Natasha and Nitsan, shepherds community of Khalet Makhul, shepherd ‘W’, shepherds community of Hirbet Samra and Aref Daragmah.
Translation from Arabic: Laila Abd El-Razaq
Introductory text: Liam Evans
 
English language transcript for this piece here:
https://static1.squarespace.com/static/661195e59e4bb80a525e87ee/t/6628d8b89596ed5ab0d9a00c/1713952953099/Liquidation_Transcript.pdf

Meira Asher is a composer, performer and Human Rights activist. She primarily uses the medium of Sound-art and Radio-art. Graduate of CalArts and KonCon, she was co-founder of the ‘bodylab art foundation’ with Guy Harries (2001-11) where they produced several projects including Infantry and Woman See Lot of Things. Former lecturer at Haifa university's Art School (2012-2022) and producer of the independent Radio-art show radioart106 since 2014. 

Her works were released on Crammed, Sub Rosa, Auditorium, Raash Records and Ultima Ratio labels. Her recent works include Antonin Artaud’s radio essay To Have Done with the Judgement of God, Sonic Voyage of Resistance for Radio Art Zone 2022, and the Catastrophe trilogy by duo Asher.Zax featuring Dave Phillips, Ensemble Musica Nova, and more.
meiraasher.bandcamp.com
mixcloud.com/radioart106

@meira.asher
@radioart106
@jordan_valley_activists

What do we perceive when our environment is reduced solely to its acoustic dimension? When we delve deep into the acoustic body – into a spectrum of sound that we usually ignore. For his work, Andreas Usenbenz collects sounds from various locations. By using special microphones, he captures sounds that usually remain hidden. Contact microphones, underwater microphones, or sensors reveal electromagnetic frequencies and the human impact on the immediate surroundings. Usenbenz immerses himself in these sounds, analyzing, fragmenting, deforming, and assembling them. Sound becomes a compositional element: contemplative, contemporary, martial, delicate, dissonant, and harmonious. Each listener will have the chance to create their own experience in total darkness, immersing. Artist bio: Andreas Usenbenz, active since 2000, creates sound art, using field recordings, and explores drone, ambient, and musique concrète. Website/social links http://www.andreasusenbenz.com https://youtube.com/@andreasusenbenz?si=X_BbYEwTAGVvkS1y https://klanggold.bandcamp.com/album/drawing-in-sound-2 https://klanggold.bandcamp.com/album/bells-breath-3

I am of water, of water I am is the third episode of Assembling Land: Rehearsals Towards Place-making, initiated in April, during our confluence in Essaouira, Morocco. Here, we gathered to reason around water as an ever-present, essential resource that implies questions of accessibility, land dispossession, and climate crisis, to foster communal strategies of resilience amidst systems of oppression and supremacy.

Each story is carried by sounds of field recordings, original productions, traditional songs and contemporary compositions harvested for, or in response to, Assembling Land’s and our own individual trajectories.

In thinking, and feeling, through our respective geographies, our solidarity with Palestine remains at the core of our practice. Yet again, this podcast intertwines and amplifies struggles across places and seas. I am of water, of water I am includes sonic works by Palestinian and Lebanese artists Jawaher Shofani, Maya al Khaldi, Sary Moussa and Charbel Haber, acting as intermissions and a closure to our sonic offering.

The podcasts are formed in chapters corresponding to our peer-to-peer learning around Land, Housing and Out/Institution, each time seeking ways to question ourselves by listening to the varied and polyrhythmic offerings from the people and places we encounter. In this process of place-making, we explore our practices and transmit through the broadcasting platform and extended community of Radio Alhara.

Assembling Land: Rehearsals Towards Place-making is de Appel’s COOP study group at DAI Roaming Academy unfolding throughout 2024. Through the group’s monthly encounters, five podcasts will share the harvest of each iteration with attuned overarching themes as departure points. This third episode was initiated in Essaouira, Morocco, in April 2024.

Dutch Art Institute (DAI) is a nomadic accredited MA program landing in various locations and for seven times (confluences) per academic year with the student body and crew. The study groups, which last the full academic year, are one of the pillars of its program and are carefully composed of and conducted by collaborations with an art institution, in this case de Appel in Amsterdam.

Listen through @radioalhara

 
 
AR


أنا من الماء، ومن الماء أنت هو الحلقة الثالثة من  "تجميع الأرض: بروفات نحو صناعة المكان"، والتي بدأت في نيسان، خلال تجمّعنا في الصويرة، المغرب.  هنا، اجتمعنا للتفكير والتأمّل في الماء كونه موردًا دائمًا وأساسيًا يطرح أسئلة حول الوصول إليه، سلب الأراضي، وأزمة المناخ، بهدف تعزيز استراتيجيات جماعية للصمود في وجه أنظمة القمع والتفوق.
كل قصة يتم حملها بواسطة أصوات تسجيلات ميدانية، إنتاجات أصلية، أغاني تراثيّة ومؤلفات معاصرة تمّ جمعها من أجل، أو استجابةً لـ "تجميع الأرض" ومساراتِنا الفردية.
في تفكيرنا وشعورنا من خلال جغرافيتنا المختلفة، يبقى تضامننا مع فلسطين في صميم ممارستنا. و مرة أخرى، هذا البودكاست يربط ويعزّز النضالات و التّحدّيات في أماكن مختلفة. "أنا من الماء، ومن الماء أنت" يتضمن أعمالًا صوتية لفنانين فلسطينيين ولبنانيين: جواهر شوفاني، مايا الخالدي، ساري موسى وشربل حابر،  تعمل كفَواصِل وختام لهذا العرض الصوتي.


Artist bio:
Assembling Land: Rehearsals Towards Place-making is de Appel’s COOP study group at DAI Roaming Academy unfolding throughout 2024. Through the group’s monthly encounters, five radio broadcasts will share the harvest of each iteration with attuned overarching themes as departure points. The broadcasts are formed in chapters corresponding to our peer-to-peer learning around Land, Housing and Out/Institution, each time seeking ways to question ourselves by listening to the varied and polyrhythmic offerings from the people and places we encounter. This third episode was initiated in Essaouira, Morocco, in April 2024.

Website/social links
https://www.mixcloud.com/AssemblingLand/
https://dutchartinstitute.eu/page/20713/2023-2024-coop-study-group-~-assembling-land-rehearsals-towards-place
https://www.instagram.com/de_appel/

The group collaborators are Anastasia Nefedova, Chloë Janssens, Echo Guo, Eszter Dobos, Federica Nicastro, Foad Alijani, Francesca Pionati, Kıvanç Sert, Meii Soh, Qiaoling Cai, Sara Alberani, Saverio Cantoni, Shaza Omran, Sille Kima, Thamyres VM, Tuba Kılıç, Noor Abuarafeh and Marina Christodoulidou.

1) Maryana Lysenko - f(A)_ l(D)- o(H) ? w(D) 1 (5:29)
2) Eve-Marie Bouché - The magic of waves (3:12)
3) Adrienne Murray - the unspoken, seen (7:39)
4) Benjamin Aman - Night with vanishing point (7:45)
 
 
1) Maryana Lysenko - f(A)_ l(D)- o(H) ? w(D) 1

The soundscape demonstrates the chaotic thought process of a person diagnosed with AHDH. Blocks of musical materials and text episodes (which describe the process of layering thoughts and ideas) turn into a single stream. The timbres and material of the fragments are very contrasting, but they turn into something integral, repeating each other's structure.

Maryana Lysenko is a composer, performer, video- and sound artist, based in France. Working in field between electronics, instrumental music, video and performance. Studied composition with A.Tchakovsky in Moscow State Conservatory, with Simon Steen-Andersen in Hochschule der Künste Bern. She has works for symphony orchestra, Russian folk orchestra, chamber music and opera. The works from last several years mostly concentrated on discovering musical possibilities of different objects, specific reactions of the public to various types of environmental sounds through imperial perception with using video, electronics, life-amplifying, tape and different type of noise.
maryanalysenko.com

 
2) Eve-Marie Bouché - The magic of waves (3:12)

“I discovered that I had magical powers, the powers to transform the world's soundtrack, to make it a better place to live...”

"The magic of waves" is an English adaptation of "La magie des ondes" (1rst prize (Short forms category) at Grand Prix Nova Romania 2023, 3rd prize at UK International Radio Drama Festival 2023).

Eve-Marie Bouché is an author (theater, children's book, radio drama...). In 2017, she learnt sound editing and loved this possibility of writing with sounds too, not just with words. Since then, she has taken technical training courses and began producing her own sound works.
Her self-produced plays have won several international awards (Grand Prix Nova Romania, UK International Radio Drama Festival...) and she has worked with professional audio producers (Kidsono/ Opéra de Paris, Falling Tree productions / BBC4, Arte Radio, France Inter...).
https://soundcloud.com/eve-marie-bouch
http://evemariebouche.net


3) Adrienne Murray - the unspoken, seen

'the unspoken, seen' was made as an accompanying audio track for my degree show installation which featured porcelain megaphone sculptures with tree roots balanced within. The installation suggested at the human experience of contained innermost thoughts and feelings, fear, longing and the need for self expression. The track contains ambient noise such as bird song, the interaction of rain against a window, and faraway noise from cars, which are then layered with the sounds of hand drumming on wooden tables and chairs. Eventually vocal sounds of humming and harmonised melodies surface, exploring environmental perceptions of closeness and distance within the context of the unspoken.

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


4) Benjamin Aman - Night with vanishing point

I recorded this piece during the summer 2024, during a "blue moon" night. I was in a garden in the mountains of north Italy, very quiet, dark and  windy at times.The wind I was breathing was the same making the clouds move, the moon disappear and reappear. Everything was calm and full of unrest at the same time. Landscape seemed to fall above me into pieces. Back at the studio, I plunged in these field recordings of that night and some electronic devices such as wave generators, modular synth. Both of electronic and environmental sounds intend to build new colours, new horizon, and finally a new land.

Benjamin Aman is a sound and visual artist. His work has been shown in France and abroad in solo shows (PA, Paris, Kunstraum Michael Barthel in Leipzig) and group shows (Centre Georges Pompidou, Museum of Contemporary Art in Rochechouart, Les Instants Chavirés in Montreuil), concerts and radio programs (Berlin Biennale VI, Transmediale X, Mex Series in Dortmund, The Wire on Air and Resonance FM in London...). He is also at the head of the music label Razzle Dazzle publishing the work of artists at the frontiers of visual and sound practices.
http://www.benjaminlaurentaman.com
https://www.instagram.com/benjamin_l._aman/
https://benjaminaman.bandcamp.com/
https://soundcloud.com/rzdz

5) Fiona Grau - Blue pills and diamonds (12:31)
6) Rob Lye - 'Somewhere between May and September' (2024)  (21:54)
 
 
5) Fiona Grau - Blue pills and diamonds

„Blue pills and diamonds“ is an experimental soundpiece of 12:31 minutes. The author works as an artist and as a farmer. With the piece she transforms her experience of being a farmer, poisoning slugs during an exceptionally humid year in a sort of song. The piece has different soundscapes building its inner architecture: the sound of a street representing what the artist hears while composing and thinking about her complex position being at the same time the carer of the field and the poisoner of slugs, and sounds from the field itself. We also hear the act of sowing the poisonous blue pills as if they were seeds. The voice of the artist accompanies us through the daily gestures that we hear and takes us into her mental world. We sink into a state close to meditation, mirrored by an ever repeating, singing voice and the sounds of imaginary slugs.

Fiona Grau, born 1986 in Freiburg im Breisgau, Germany. She has her own farming project in Brussels, Belgium with @bluette_maraichage_et_fleurs (Instagram), writes and composes. Her soundart is marked by the proximity with nature that she experiences in her activity as a farmer. If she would have an aim with what she does in her art, it would probably be to open up the listener’s ears to the intense life going on in every handful of earth, on every leaf. For her current art project you will find more detail on @terres.volubiles (Instagram).

@bluette_maraichage_et_fleurs (instagram, farming project)
@terres.volubiles (instagram, collective art project)
https://audioblog.arteradio.com/blog/208438/soundspiele-jeux-sonores (sound blog)


6) Rob Lye - 'Somewhere between May and September' (2024)  

Somewhere between May and September’ (2024) 21.54 mins.
Ambisonic Sound rendered to Stereo.

"Somewhere between May and September" is a recent ambisonic spatial work that invites listeners to traverse a complex auditory landscape, intertwining elements of recent English history with natural and sociopolitical soundscapes. The piece utilises a diverse array of audio sources, including recordings of an ancient Cornish hedgerow, a far-right march in central London, waves crashing on a beach, underwater sounds from a countryside lake, and the resonances of a military exercise, all interwoven with the haunting tones of a prepared piano.
It continues an arc of work exploring the perception of time and its relationship to a larger idea of aural history.

Rob Lye is an artist and musician born in Wiltshire living in London. > His time based utilises video, sound music print and performance.  Recent work has explored technology, landscape and psychotropic drugs, specifically Lithium and the burgeoning 'green' economy. He recently received an ACE research grant to travel to Bolivia to visit the Salar de Uyuni and the Bolivian Amazon rainforest. > Recent research has the utilised ambisonic sound.
He has presented work at Modern Art Oxford, LUX, Cafe Oto, Iklectik, ICA etc.  He is one half of the legendary noise group Chora active throughout the 00s.
http://www.robertlye.co.uk
https://stairwelleditions.bandcamp.com/

Waiting On a Room reflects on moments of transition. As opportunities await like a warm embrace, we wander into the new with a sense of excitement, a sprinkle of wonder, and a hint of what we will leave behind. Elements of lap steel, granular synthesis, and radio static merge with a foundation of tape loops to transmit the evolution of before, after, and between.

Artist bio:
Steve Ashby is a musician, composer, and sound artist based in the United States. Ashby work focuses on sound found in the natural and digital world to discover places of intersection which engage in the art of listening. Recent performances and residencies include the International Symposium of Electronic Art, Australasian Computer Music Conference, International Computer Music Conference 2022, the Society of Electro-Acoustic Musicians in the United States, Soundpedro, Moxsonic, EMS Stockholm Guest Composer Series, Radiophrenia Scotland, Cube Fest at Virginia Tech, New Music Gathering, Sound Arts Richmond, and the NYC Electroacoustic Music Festival.

Website/social links
https://ashbysounds.org
instagram: @ashbysounds
bluesky: @ashbysounds
twitter: @ashbysounds

Study IV for Voice and Fiction is an experimental spoken-word/choral composition for twenty-four participants, each reading from any work of fiction of their choosing. As they read, they receive audio signals through headphones prompting them to alter their voicing, inflection, cadence, volume, and ultimately their tone, gradually converting them from a chaotic cloud of whispers to a unified drone, changing colors many times along the way.

All parts in the provided demo were performed and recorded by the composer.

Artist bio:
Blake DeGraw is a composer, bandleader, and sound installation artist from Seattle, WA, USA. He studied euphonium performance at Las Vegas Academy of Performing Arts, and composition at Cornish College of the Arts in Seattle.

DeGraw is the founder of FHTAGN, an experimental chamber ensemble and choir with over 70 rotating members, and the Northwest Experimental Guitar Orchestra, an 18-piece ensemble dedicated to performing new works for guitar. Both ensembles are DeGraw’s primary means of exploring his interests in chance procedures, deep-listening, alternative forms of conduction, and extremes in spatial dispersion.

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

Study IV for Voice and Fiction is an experimental spoken-word/choral composition for twenty-four participants, each reading from any work of fiction of their choosing. As they read, they receive audio signals through headphones prompting them to alter their voicing, inflection, cadence, volume, and ultimately their tone, gradually converting them from a chaotic cloud of whispers to a unified drone, changing colors many times along the way.

All parts in the provided demo were performed and recorded by the composer.

Artist bio:
Blake DeGraw is a composer, bandleader, and sound installation artist from Seattle, WA, USA. He studied euphonium performance at Las Vegas Academy of Performing Arts, and composition at Cornish College of the Arts in Seattle.

DeGraw is the founder of FHTAGN, an experimental chamber ensemble and choir with over 70 rotating members, and the Northwest Experimental Guitar Orchestra, an 18-piece ensemble dedicated to performing new works for guitar. Both ensembles are DeGraw’s primary means of exploring his interests in chance procedures, deep-listening, alternative forms of conduction, and extremes in spatial dispersion.

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