Schedule

17 September 2022
  • 12:00 am - 3:00 am

    Manja Ristić - Radio Astral

    Details


    On the brim of the galactic void, embedded in a gravitational pull and sheltered by a strong magnetic field, lies the rock: spirited, effervescent, spinning like a tiny misplaced whirligig.

    While suffering from everlasting oblivion, its mischievous inhabitants are struggling to live in harmony. The memory of this restless world is so dense that it becomes tangible – folded, cramped in tiny particles, well-distributed and coated in divine refracting light, flickering, often eldritch, but solidly tightened. It holds in its viscera everything that has ever happened, like an insatiable body in permanent expansion, multiplying its limbs into infinity.

    The journey starts from above, with the sound of the Earth ripping out space into a magnetic lotus, leaving a luminous trail of radioactivity behind.

    This programme consists of fragments from the omnipresent memory field and its slippery corners, savagely abstracted but gently placed on attentive bodies. With occasional attuning to the planetary “pipe” and its spinning neighbours, this transmission “source” is hosted by no one else but humpback whales, and it tackles the epic storytelling of their somewhat phantasmagoric dreamland.

    Awake or asleep. Radio Astral is always listening.


    Manja Ristić is a violinist, sound artist, published poet, curator and researcher. She graduated from the Belgrade Academy of Music (2001) and was awarded a PGDip as a Solo/Ensemble Recitalist from the Royal College of Music, London (2004). As a classical solo and chamber musician as well as a composer and an improv musician Manja has performed all across Europe and the US, and has been involved in collaborations with established conductors and performers, multimedia artists, poets, theatre and movie directors. Manja’s sound related research besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts.

    Manja is the founder of the Association of Multimedia Artists Auropolis (since 2004), that by her guidance developed a distinctive number of cultural events, international projects, cultural conferences and educational platforms in the fields of scene and multimedia arts. She works and lives on the island of Korčula, Croatia.

    http://manjaristic.blogspot.com/

    https://manjaristic.bandcamp.com/


  • 3:00 am - 3:45 am

    Mark Vernon - Magneto Mori: Brussels

    Details

    ‘Magneto Mori: Brussels’ gathers together recordings of people’s earliest or most vivid memories. These recollections were recorded direct to open reel tape which was then cut into random fragments and buried in the ground for 2-weeks along with magnets that partially erased the recordings before being excavated and used as the basis for a new de-composition. The process is an analogy for the frailty of human memory and our (in)ability to recall the past.


    Produced during a month-long residency at Q-O2, Brussels in August 2022.

  • 3:45 am - 4:00 am

    Call Back Carousel Episode 5: Paignton Zoo

    Details

    Produced by Mark Vernon.

    “This device isn’t a spaceship, it’s a time machine. It goes backwards, and forwards… it takes us to a place where we ache to go again. It’s not called the wheel, it’s called the carousel. It lets us travel the way a child travels – around and around, and back home again, to a place where we know we are loved.” 
    (Don Draper, Mad Men)

    Call Back Carousel is an audio time-travelogue, a slideshow of the mind’s eye – projecting Kodachrome memories directly into the listeners’ mind by means of sound alone. It is a way of travelling without ever having to leave the home. A vicarious vacation for the imagination. Pure audio escapism.

    Each episode is based on a found tape of a pre-recorded slideshow commentary. Most of these tapes were made by amateur tape recording enthusiasts and hobbyist photographers of the 60s and 70s. Their recorded commentaries would at one time have been used in conjunction with a sequence of 35mm slides but only the taped voices now remain. The recordings themselves come from my own archive of found reel-to-reel tapes that I have collected over the past twenty years.

    Using these found slideshow commentaries as a framework, a series of musical soundscapes have been created to bring the absent images to life, activating the listeners’ imagination in the classic tradition of ‘cinema for the ears’. It’s a little like looking through a family photo album where only the hand written captions and mounting corners remain; the photographs themselves have all been removed. The evocative rattle and clack of the projector shuffles through different slides as the fragile voices of our tour guides accompany us on a sonic journey that fractures time – and through the cracks, the past bleeds through into our present.


  • 4:00 am - 4:30 am

    Autumn Chacon - What Will Be Lost

    Details

    What Will Be Lost is a new collaborative work between the Indigenous US based artist and Sandra Marja West, sámi activist, artist, and member of the sámi Parliament. Drawing on her own history of vocal activism, Autumn’s work stands in solidarity with the current dispute the sámi face against big copper mining in sápmi. What Will Be Lost, is 2 simultaneous broadcasts in which words directed at the German Copper Buying Industry is interrupted by a second broadcast of the land, water, animals, and peoples who will be negatively affected by copper extraction in sápmi. * * Chacon and West first became friends when Sandra’s family spent the winter of 2016/2017 at the Standing Rock occupation in North Dakota, United States where a proposed oil pipeline threatened the livelihood of the Lakota Nations. They were reunited in spring 2017 when Autumn and a delegation of North American Indigenous women travelled to Norway to plead with its banks and parliament to divest from the North American pipeline and were successful in a 3.5 billion dollar withdrawal. A co-commission between Borealis Festival and Radiophrenia Autumn Chacon is an Indigenous (Diné), multi-media and new-media artist of the Albuquerque, New Mexico area of the United States. From an early age she has been an active community organizer for the advancement of Native American Rights, Environmental Justice, and Media Rights and Access. Being a self taught artist her work reflects her activist values. Autumn has shown work domestically and abroad, in the mediums of sound, performance, and electronic installation. With no lack of stories to be told Autumn strives to engage through new media technologies even if her stories are very old. *Diné means “The People” or “Children of the Holy People” and is the name preferred by the Navajo people – a native american tribe.

  • 4:30 am - 5:00 am

    Asha Shedadri - The Last Picture Show

    Details

    The Last Picture Show is a survey of self-conscious object details lodged within the Metropolitan Museum of Art, with no expectation that they would ever be heard. The work is interspersed with dialogue from “The Last Picture Show” (1971). It was set up as an open-ended exploration, in which I documented art objects that were to be addressed, through writing and field recordings which were then cast aside. To me, this piece feels like revisiting an outdated atlas.

    Asha Sheshadri (b. 1986) moves freely between video, writing, sound, and photography. Her forms flow together to create unpredictable observations of the overlooked, while documenting personal and political networks within our collective, imperfect memory. She currently lives and works in New York.

    http://www.ashasheshadri.com

  • 5:00 am - 5:30 am

    Elina Waage Mikalsen - Juolggit julggiid vuostá - the line has two sides

    Details

    Elina Waage Mikalsen combines her voice raw, as instrument, and with words with electronics, her self-built instruments and field recordings to bring to life ghosts, or in the sámi context “underworld people”. Exploring the long history of erasure of sámi voices and stories in Norway, this new work brings a conversation with the dead to reveal the intentional gaps in historical narratives and restores connections to the past, whilst creating opportunities for the future

    A co-commission between Borealis Festival and Radiophrenia

    Elina Waage Mikalsen is a multidisciplinary artist and musician from Tromsø in Northern Norway, currently living in Oslo. She works with performance, textiles, installation and text, in connection to sound and sound practice. Elina has her background in art and film, and was awared the title Young Artist of the Year at the international indigenous festival Riddu Riđđu in 2015. Since then she has participated in a number of group exhibitions and performance programmes. Elina’s artistic work is strongly intertwined with her Norwegian and Sami affiliations. The meeting point between these two cultures in her own family paints a picture of the power relations that haunt the society as a whole. In her work, this intimate view of society becomes a platform to explore themes related to identity and exclusion. In her sound work she often combines her voice with field recordings, electronics and self-built instruments to create sound spaces that sit somewhere between reality and fantasy. It is the emotional and narrative properties of sound that interests her, and how it can function as a time machine which causes time to collapse and sets both future and past in motion.

    https://elinawaagemikalsen.bandcamp.com

    https://soundcloud.com/elina-waage-mikalsen

  • 5:30 am - 6:00 am

    Christian Mirande - Son, Be Strong

    Details

    “Hello, my name is Christian Mirande and you’re listening to my piece made for Radiophrenia! You’ll hear field recordings, tape loops, electric piano, organ, bullroarer and some digital synthesizers, all layered into a work themed very loosely on listening to radio programs. I’ve been a radio listener all my life; it’s buoyed me, fatigued me, excited me and everywhere in between. I initially considered working with single-sideband modulation and voice for this work as the technology is at the core of radio wave transmission and reception, and its effect on sound is quite dramatic, if not a bit cliche. Ultimately, I decided on a performance, a general ribbing and sort of pastiche- a bit of a think about American radio broadcast and it’s reflection back. Public radio reports, emotional overwrought essay programs, irritating commercials, religious music, interference- all without using those actual things as source material. I hope you enjoy it! Well, I forgot, there was also fretless bass.”

    Christian Mirande (b. 1986) is an experimental musician from Philadelphia. He has utilized magnetic tape, various audio synthesis methods, and instruments from the fretless bass to the iphone voice memo. His work is often characterized as textural or atmospheric. Dealing with themes such as memory, loss, and faith, this new piece is a reaction to a lifetime spent in the car with American broadcast radio.

    He has been a member of the groups Open Corner and The Flea Circus.

    https://christianmirande.bandcamp.com

    https://soundcloud.com/christian-mirande

  • 6:00 am - 7:00 am

    Glass Salt - Cove

    Details

    “Cove” is a radiophonic piece by Glass Salt that documents their creative practice during their residency at Artscape Gibraltar Point on Toronto Island. The work is informed by their improvisational approach to music making, attentiveness to listening to their immediate environment, and an intuitive response to the moment. The result is an ecology of moving parts created through reciprocity and presence, expressed through music, voice, field recordings, and conversation.
    glass salt

    Glass Salt is an experimental music and sound duo consisting of singer, producer and improviser Caylie Staples and artist, engineer, and musician Johann Diedrick. Staples and Diedrick improvise with voice, electronics, custom software, homemade hardware and percussion. Glass Salt creates with values of presence, tactility, transparency, friendship, collaboration, learning, skill-building and playfulness. They released their debut album Greetings on Whatever’s Clever Club in July 2020 and a follow-up album Mer on Cherche Encore in December 2020.

    Caylie Staples is a Canadian-based innovative singer, songwriter, producer and improviser. She is internationally recognized for her unique skill of creating on-the-spot, free form lyrics and vocals.  Current projects include her self-titled art-pop electronica project, improvisational duo Glass Salt with Johann Diedrick focused on voice and custom electronics, co-leading improvising avant-rock ensemble Anthems of the Void with NYC-based experimental luthier Bradford Reed, and co-writing electronica with Morgan Doctor for Aporia Records. Staples has a B.F.A. Honours in Music from York University, Toronto, Canada.

    Johann Diedrick is an artist, engineer, and musician that makes installations, performances, and sculptures for encountering the world through our ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours, workshops, and open-source hardware/software. He is the founder of A Quiet Life, a sonic engineering and research studio that designs and builds audio-related software and hardware products for revealing possibilities off the grid through sonic encounter. He is a 2021 Mozilla Creative Media Award recipient, a member of NEW INC, and an adjunct professor at NYU’s ITP program. His work has been featured in Wire Magazine, Musicworks Magazine, and presented internationally at MoMA PS1, Ars Electronica, and the Somerset House, among others.

    https://glasssalt.bandcamp.com

  • 7:00 am - 7:45 am

    Khadea Kuchenmeister - Deep Lake Murmurs

    Details

    Deep Lake Murmurs is a mediative speculative fiction on diaspora, water and imagined borders. Accompanied by recordings of various rivers, a soft gliding voice ascends and descends in prayer, creating a psychic vessel for spirits travelling off an imprisoning island. Taking inspiration from the African water deity Mami Wata, it brings together a resistance to post-colonial borders with layers of ancient water folklore. Vocals by Fiyin Fakunle. Khadea Kuchenmeister is a ceramicist and artist, exploring histories and storytelling through the use of creative workshops as a way to encourage space for self-exploration centred on lived experience. They are interested in critical autoethnography as a method that disrupts ideas on the subject/object dualism and Eurocentrism, instead self-reflecting rooted in diasporic knowledge working across various media including; writing, ceramics and film.

  • 7:45 am - 8:00 am

    Call Back Carousel - Holidays Torquay 1969

    Details


    Produced by Mark Vernon.

    “This device isn’t a spaceship, it’s a time machine. It goes backwards, and forwards… it takes us to a place where we ache to go again. It’s not called the wheel, it’s called the carousel. It lets us travel the way a child travels – around and around, and back home again, to a place where we know we are loved.” 
    (Don Draper, Mad Men)

    Call Back Carousel is an audio time-travelogue, a slideshow of the mind’s eye – projecting Kodachrome memories directly into the listeners’ mind by means of sound alone. It is a way of travelling without ever having to leave the home. A vicarious vacation for the imagination. Pure audio escapism.

    Each episode is based on a found tape of a pre-recorded slideshow commentary. Most of these tapes were made by amateur tape recording enthusiasts and hobbyist photographers of the 60s and 70s. Their recorded commentaries would at one time have been used in conjunction with a sequence of 35mm slides but only the taped voices now remain. The recordings themselves come from my own archive of found reel-to-reel tapes that I have collected over the past twenty years.

    Using these found slideshow commentaries as a framework, a series of musical soundscapes have been created to bring the absent images to life, activating the listeners’ imagination in the classic tradition of ‘cinema for the ears’. It’s a little like looking through a family photo album where only the hand written captions and mounting corners remain; the photographs themselves have all been removed. The evocative rattle and clack of the projector shuffles through different slides as the fragile voices of our tour guides accompany us on a sonic journey that fractures time – and through the cracks, the past bleeds through into our present.


  • 8:00 am - 8:30 am

    Jenny Berger Myhre - Slowly I wake up to my other life

    Details

    Slowly I wake up to my other life is an intimate piece about listening to the soft voice — the one we hear in our dreams, and in our thoughts — and the one we keep for our loved ones. It pays tribute to the intimacy in voice messages between friends, specifically those that are recorded early in the morning, just after sleep. It is a film for the ears about not knowing how to spend the days that come and go, and about coming to terms with the uncertainties of life.

    To Camila, who inspired and collaborated with me on this from beginning to end.

    The dreamer — Camila de Laborde

    Violin & double bass improvisations — Vilde & Inga (Vilde Sandve Alnæs & Inga Margrete Aas)

    Supercollider patches and sinus waves — Niklas Adam

    Modular synth — Niklas Adam & Jenny Berger Myhre

    Composed by Jenny Berger Myhre

    Thanks to Håvard Volden for the Revox B77 tape machine.

    A co-commission between Borealis Festival and Radiophrenia

    Jenny Berger Myhre is a multidisciplinary artist working with sound, video, performance and photography, based in Oslo, Norway. Her music is created from field recordings, fragments of melodies, computer generated sequences, modular synths and lo-fi electronics – resulting in soundscapes with references to both the electro-acoustic tradition as well as experimental pop music. Coming from a DIY background, Jenny’s approach to music making is versatile and curious, with an apparent love for the quirky and unpolished. She is interested in personal stories, memories and everyday life. Her work revolves around archives, intimacy, reality and re-contextualisation. Since the release of her debut album Lint in 2017 she has also been working with musician and novelist Jenny Hval, contributing to, and touring with the performance The Practice of Love in 2019. For the past years, Jenny has made several commissions for public spaces and radio, and in 2022 she is releasing her second album Here Is Always Somewhere Else on Breton Cassette.

    https://jennybm.com/

  • 8:30 am - 10:00 am

    Radio LOOS VII - Barriers: On Art, Disability, Barriers, and Chances

    Details

    I. Hear about how technology can help deaf and physically impaired musicians create music, about the barriers people face in their professional lives, take part in a wheelchair soundwalk, and hear wonderful music. Work and in depth discussions with Amble Skuse, Ben Lunn, Kris Halpin, Laura Cantliff, Nabil Shaban, Toria Banks, and Sonia Allori. Produced at Studio LOOS by Leonie Roessler.

  • 10:00 am - 10:30 am

    Alexandra Spence - Do jellyfish breathe?

    Details

    During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean.

    I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me.

    I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things.

    …Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…

    Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability.

    “… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way.

    *Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss.

    ‘Do jellyfish breathe’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria. A revised version is available at:
     https://mappa.bandcamp.com/album/a-veil-the-sea

    Alexandra Spence is a sound artist and musician living on unceded Wangal land in Sydney, Australia. Through her practice Alex attempts to reimagine the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. Her aesthetic favours field recordings, analogue technologies and object interventions.

    Alex has presented her art and music in Australia, Asia, Europe, and North America including Vancouver Art Gallery; BBC Radio 3 & 4; Ausland, Berlin; Museo Reina Sofia, Madrid; Sound Forms Festival, HK; MCA ARTBAR, Firstdraft Gallery, and Liveworks Festival, with Liquid Architecture, Sydney. She has released her work with labels Room40, Longform editions, More Mars (w. MP Hopkins) and Canti Magnetici.

    https://linktr.ee/alexandraspence

  • 10:30 am - 11:00 am

    Kiera Mulhern

    Details

    Sequelae (pft sequela
    of black hole in the kitchen,
    glass. A kitchen. Utensil utili
    ssociated after the cow licks
    her clean. Or we are born with
    sin & undergo. a cleaning
    process. . X consider the
    reverse the viscera  lost But
    of course the newborn is
    already altered by the world.
    It’ss created by it ,

    Sadism of helplessness. Winnow  
    the edible. Wasn’t it just what  
    people do to each other   !    
    take      Or could you be angry

    Kiera Mulhern (b. 1992) is a poet and musician based in New York. Mulhern works with field recordings, various electroacoustic material, and voiced text, incubating words and verbal fragments within thick environments of sound. She is most interested in memory and where it may be situated, fragility of meaning, and basal feelings of aliveness and death.

    http://kieramulhern.com

    http://kieramulhern.comhttps://recitalprogram.bandcamp.com/album/de-ossibus-20

  • 11:00 am - 11:40 am

    Manja Ristić - Nothing Has To Happen, Fortress Europe

    Details

    In January 2020 I found myself in Ljubljana exploring abandoned spaces as a continuation of my obsession with listening to the Third Landscape – Gilles Clément’s concept which considers, among other things, abandoned urban landscapes or those which suffered an explicit human intervention as places good for thriving bio-diversities which are building the genetic reservoirs that an overall Ecosystem is dependant on. I instantly got hooked by the largest city project – The Sport Park Stožice. It was supposed to include sport facilities and a vast commercial area but only the public part was built, the arena and the stadium. Eighty thousand square meters of the shopping centre remained unfinished.

    As often, politics and economics are inseparable, and as corruptive mechanisms become more obvious, both reveal deep submergence into necropolitics. A capital cumulation on the detriment of basic social rights leading to a radical devaluation of a human life. To cut the story short, most of the “modern” societies “background” economics can be reduced to arms sales, drugs, and human trafficking routes. Beneath them are stock value of oil and lithium, gold and diamonds.

    “Please be careful, you’ll be trespassing”, said a dear friend.

    The private partner in the public-private largest investment in Slovenia since the 1970s went bankrupt in 2012.

    There were irregularities in the expenditure of EU funds, the then-Mayor pleads not guilty in the latest lawsuit investigating the case.

    “There used to be a wonderful pond, and a hilly landscape… now it’s just concrete, wherever you look, there’s concrete.”

    It was a crispy January morning, I wore my army boots. The site was enormous. Several concrete terraces were covered in various surfaces, reaching as far as the eye can see. I decided to just walk.

        people were falling in the streets
        shivering in agony, for what they saw would hit them
        like a bolt, scalding them from within,
        the Great War was now inside them

    A few days before, I was waiting in line at a crowded ticket office at the Belgrade bus station, when two 16-year-old boys approached me for help. They were trying to reach a certain newly established migrant camp in Bosnia but they claimed that the lady behind the counter refused to sell them tickets. So I got into an argument with her, when she finally shouted at me, “The camp is not in that town, it’s in this one, and there is no bus to there, they mixed up the names! You almost sent them in the wrong direction! Anyway, they are completely confused”. I looked at her not hiding my concern about the two boys and I mumbled “…you would be confused too after reaching here on foot all the way from Afghanistan”.

    I took the boys aside, made several phone calls with friends who are journalists and human rights activists, and found them the route to that camp, knowing that I’m only sending them to an even greater uncertainty and potential danger, because the closer you get to the border with the EU the uglier it gets.

    People migrating from the Middle East and Africa spend years in the remote Balkan forests constantly dealing with severe weather, hunger, exhaustion, sickness, violent pushbacks by border police, a landscape full of land mines from ex-Yu wars. They have to face people smugglers and traffickers, and local neo Nazis that proudly call themselves human head hunters. Passing the part of the Balkan route closer to the border with the EU they call The Game.

    Sometimes, after years in the deadly forests, they manage to reach Slovenia and then get violently pushed back or deported. An Iranian single mother of two was illegally pushed back from the Croatian border 22 times over a period of 2 years. In the end, local people in the little border town stood up and hid them, until they found a way to get lawyers, national media and trustworthy immigration officers to help her. She was asking for her legal right to gain an asylum.

        Pushbacks on the borders of EU are violent and illegal.
        Pushbacks on the borders of EU are violent and illegal.
        Pushbacks on the borders of EU are violent and illegal.

        your voice bounces within narrow memories, leaks down the carvings of space – shame is taped to the frost, limbs darken in the harsh Belgrade winter. blood trails in the snow lead to the great house of despair, as there were different deaths for them and us, for them and them, for us alone.

    I was walking across the derelict construction site thinking about those two boys, about Madina, a six year old Afghan girl struck by a train on the border between Serbia and Croatia after being pushed back in the middle of the night by the Croatian police. “Follow the tracks” they ordered. The family was on the road for two years.

    I was thinking about people losing limbs from unexploded land mines in Bosnian forests. I was thinking about war profiteers in the Balkans, how they found a way to gain immunity for their economic crimes through involvement in politics. About the twisted minds running EU member states and building border camps for people on the migrant route that look no different than concentration camps. I was thinking about the dark heart of Europe swallowing lives, unstoppably.

    And the Fortress I was walking on was barren, derelict and intoxicated. Swollen by greed. Cold and deadly.

        still landscape soaked & burgeoning
        the rainbow is piercing lead horizon
        flashed by the beams of fleeting Sun
        as it was posing above meadows, hills & forests
        for the greatest collodion photo

        curled up dog is sleeping
        in a derelict bus stop
        soon the night will fall
        and the migrants will roam by the dark highway
        wet to the bones

    Every time you think “That is somewhere over there. Nothing has to happen”, a child that dreamed of freedom disappears.

    The composition is made around an excerpt from my Stožice abandoned construction site field recording archive. Recorded in January 2020 during the reZone residency in Ljubljana.
    Poetry excerpts from the collection Stories Untold.
    Mastering by La Plant Studio Belgrade.

    ‘Nothing Has To Happen, Fortress Europe’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

    Manja Ristić is a violinist, sound artist, published poet, curator and researcher. She graduated from the Belgrade Academy of Music (2001) and was awarded a PGDip as a Solo/Ensemble Recitalist from the Royal College of Music, London (2004). As a classical solo and chamber musician as well as a composer and an improv musician Manja has performed all across Europe and the US, and has been involved in collaborations with established conductors and performers, multimedia artists, poets, theatre and movie directors. Manja’s sound related research besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts.

    Manja is the founder of the Association of Multimedia Artists Auropolis (since 2004), that by her guidance developed a distinctive number of cultural events, international projects, cultural conferences and educational platforms in the fields of scene and multimedia arts. She works and lives on the island of Korčula, Croatia.

    http://manjaristic.blogspot.com/

    https://manjaristic.bandcamp.com/

    https://sonicmatter.bandcamp.com/

  • 11:40 am - 12:00 pm

    Steve Urquhart - Doing Bird mixtape side A

    Details

    DOING BIRD

    Scotland’sSounds at HMP Perth

    Inmates atHMP Perth engage with archive birdsong and oral history recordings fromthe Scottish Ornithologists’ Club in a unique, creative audio art collaboration.

    Peesweeps meet hip hopbeats, grouse unlock coded prison language, and an unhatched kestrel chickprovokes philosophy…

    “To be abird, even just for a day, would be… freeing. Just free. Where would you go? Idon’t know – I’m just gonna fly!”

    In prison, people are literally separatedfrom the outside world, and from the natural world. It can be disturbingly easyto disconnect from life beyond prison walls.

    And yet, a sound that’s oftencited by prisoners as one of their few direct live links with the outsideworld, is birdsong.

    When the National Library of Scotland invited artists to engage community partnerswith archive audio collected by members of the ScottishOrnithologists’ Club, I proposedworking with people being held in one of Scotland’s prisons.

     Why prison?

    “With birds,there’s a pecking order – same as there is in the jail!”

     In prison, avian languageand symbolism are widespread. ‘Doing Bird’ is a slang term for being in prison,as is ‘jailbird’. Many prisons are divided into ‘wings’. Bird tattoos oftenhave specific meanings.

    Among the principal stated objectivesof prison are constructive engagement, recovery and reintegration. Through thepowerful sensation of sound, I wanted to bring the outside world directly intoprison, to encourage inmates to actively consider – and to engage creativelywith – life, experiences and sounds far removed from their cells, as theyprepare for release.

    Those taking part are allproducer-presenters at HMP Perth’s ‘Insider Radio’ (the station launched in2021). Together they’ve produced the ‘Doing Bird’ mixtape – Side A and Side B –two ambitious, personal and celebratory new compositions for radio and digitallistening, blending archive material with their own stunningly imaginativeresponses through music, spoken word, and sound art.

    “Somemornings, between 3 and 4am, I’ll hear a smaller bird, like a robin. That soundtakes me back to being at home.”

    Engaging with Scotland’s archive birdsongrecordings encourages the men to recall positive memories, to spark creativity,to reflect on the purpose of prison, and to re-evaluate their connection to theworld beyond prison walls. They also think deeply about the accessibility andvalue of oral history recordings, and about who gets to be involved.

    ‘Doing Bird’is supported by the National Lottery through Creative Scotland.

     It’s also supported bythe National Librarian’s Innovation Fund, and by the Scottish Prison Service.

    The two pieces (each 19minutes in duration) are created by eight inmates working at HMP Perth’sInsider Radio, in collaboration with the sound artist and radio producer Steve Urquhart.

    ‘Doing Bird’ was first broadcast on InsiderRadio, HMP Perth, in March 2022, and scheduled for broadcast on National Prison Radio and ResonanceFM in Spring2022.


  • 12:00 pm - 1:00 pm

    Helena Celle - Dreams in the Worm House

    Details

    My partner and I visited WORM in Rotterdam, courtesy of Radiophrenia. We recorded over a days worth of improvisation on an optical disc organ. I edited those recordings down to ninety-nine fragments, then wrote a computer program to represent them in a specific manner over the course of two hours. During recording, my thoughts were occupied by the following: attribution of personhood to the marginal via the radiophonic, animating the inanimate, the early work of The Residents (to whom I owe the kernel of my outlook on life), the uncharacteristically whimsical organ music of Anton LaVey released on Amarillo Records, backmasking and contemporary incidence of satanic panic, Dario Argento’s Suspiria, La Monte Young’s Dream House, and HP Lovecraft’s “Dreams in the Witch House”.

    Helena Celle is a Glaswegian artist and audio engineer. She is concerned with the participatory representation of the imaginal through the organisation of sound, image and language, and currently produces an hour (or more) of original work for patrons every month. She plays guitar in the band Herbert Powell (Lost Map Records), and previously played bass guitar in the band Anxiety (La Vida Es Un Mus Records).

    https://www.patreon.com/helena_celle

  • 1:00 pm - 1:40 pm

    Hali Polombo - CALL-BOOK

    Details

    Often, amateur broadcasts on shortwave radio tend to go undocumented, resulting in hundreds of broadcasts a day vanishing into the ether – never to be heard again. “CALL-BOOK” highlights and emphasizes several conversations, interactions and unusual instances collected over the course of 48 hours of shortwave listening. This will preserve the throwaway broadcasts in relative immortality while framing them in naturally evolving and alien aural environments.

    Hali Palombo is a composer and visual artist working in Illinois. Crafting most of her music from a large personal library of CB and amateur radio recordings, her compositions also include Morse code, wax cylinder samples and field recordings she has taken at various Midwestern points of interest.

    http://www.halipalombo.com

    ‘CALL_BOOK’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

  • 1:40 pm - 2:00 pm

    Marco Paltrinieri - Untitled (an anecdote)

    Details

    Untitled (an anecdote) is a composition that tells the story of a journey away from reality and towards what could be a newfound awareness for some or perhaps madness for others. But there is no moral to be drawn here. Instead, what matters is the experience of listening itself, to be understood as an act of openness to the possible. In a world largely dominated by the immediacy of vision, I do believe in the role of other senses in bringing a renewed depth to the experience of the world itself and to our role in it.

    Starting from these assumptions, Untitled (an anecdote) has a twofold nature: on the one hand it is an homage to the ability of sound to help reconsidering reality and to foster imagination and on the other, it relies on such qualities to accentuate the nuances of the story while experimenting with narrative possibilities.  

    Written, recorded and mixed by Marco Paltrinieri
    Words by Marco Paltrinieri
    Voice by Lucie Page
    Mastered by Renato Grieco
    Artwork by Mirko Smerdel

    Marco Paltrinieri is based in Milan, Italy. He is a multidisciplinary artist, educator and founding member of the artistic research collective Discipula. Working mainly with sound and writing, his practice is concerned with the tension between humanity’s aspirations and our inescapable condition of fragility, decay and mortality. His first solo album, “The Weaver”, was released by Canti Magnetici in 2020. He is currently teaching Visual Culture at Cfp Bauer in Milan, Italy.

    https://mrcpltrnr.tumblr.com/

    https://www.instagram.com/marcopaltrinieri_/

  • 2:00 pm - 3:30 pm

    Workshops and public engagement programmes

    Details

    Solar Bear – ‘Ghost Hunt’

    ‘Ghost Hunt’ is a thrilling remake of a 1949 episode of the classic radio drama series Suspense. With just the opening scene and a few key props, we imagined our own spooky story. The result isn’t a faithful remake, but it is equally as terrifying as the original! Over just a few hours we storyboarded, rehearsed and shot our film. Focusing on visual, aural and dramatic techniques to create atmosphere and build the world of our story. The final piece is both film and audio work and is accessible in British Sign Language and English.

    Solar Bear’s Deaf Youth Theatre (DYT), based in Glasgow, is for young deaf people aged 12 – 21 years. They meet, play, learn skills and create new work. Amongst many highlights we run weekly workshops, create original new shows and make films. 

    https://solarbear.org.uk/deaf-youth-theatre/

      

    Good Vibrations’ Resonate Group

    RESONATE is a combination of sound, performance and documentary about the Good Vibrations Resonate group who meet weekly in Glasgow to play music together. Unlike many community music projects, this group play traditional Indonesian Gamelan instruments – usually in an improvised way – and over time have become fluent in their use.

    Bio:

    Good Vibrations’ Resonate group is an inclusive music group who play the instruments of Indonesian gamelan orchestra. They focus on wellbeing, social connection and making their own music.

    https://www.good-vibrations.org.uk/resonate/


    Young People’s Futures

    ‘WELCOME TO WESTER COMMON’: a sonic adventure that takes us from swimming to sharks, from unexpected ants to unwanted phone calls – and a game of ‘Marco Polo’.

    Recorded at Young People’s Futures, Possilpark, by Mark Cunningham and Robbie Armstrong. Production and sound design by Rhiannon Walsh and Mark Cunningham.

    Young People’s Futures is a charity working with children and young people aged 5-18 years that provides activities in the Possilpark, Westercommon and Hamiltonhill communities of North Glasgow. It aims to create a safe and nurturing environment for children and young people, to assist in their development and to play a full and informed part in the ongoing regeneration of their local neighbourhoods. 

    http://www.youngpossilfutures.org.uk

     

    Govanhill LGBTQI+ Gardening Group

    Members of the LGBTQI+ Gardening Group came together in a process of exploration using ideas from Body Mind Centring and Pauline Oliveros’ deep listening and adapted scores, to explore Pollok Park and their domestic and daily environments with new ears. They asked ‘How does deep listening with our environment shift our sense of ourselves as part of the ecosystem? and what can we learn by paying close attention to what we hear?’ They gathered sounds from these experiments and then improvised electronically with the sounds, letting the material lead the editing process. They noticed the hierarchy we might typically apply to recorded sounds and tried to find what they actually like and disliked sonically. The process encouraged permission to try new things and to let there be no wrong answers. The finished piece is the result of these explorations and experiments. 

    Govanhill LGBTQI+ Gardening Group is part of Govanhill Baths Community Trust’s Wellbeing Programme. Projects include veg growing sessions, a trans herb garden in development, and workshops on composting, botanical drawing, seed saving and queer ecology. 

    https://www.govanhillbaths.com/projects/whats_on/lgbtqi-gardening/




  • 3:30 pm - 5:00 pm

    Radio Loos VIII - Barriers: On Art, Disability, Barriers, and Chances

    Details

    II. The second episode on Art, Disability, Barriers, and Chances includes discussions on barriers in education and the work place, neurodiversity in the dance studio, and the often forgotten extermination of disabled people during the second world war, including a piece and an excerpt of a theater play on the subject. Music and words by Amble Skuse, Ben Lunn, Kris Halpin, Laura Cantliff, Nabil Shaban, Toria Banks, and Sonia Allori. Produced at Studio LOOS by Leonie Roessler.

  • 5:00 pm - 6:00 pm

    Dr Klangendum - GLASGOW ROTTERDAM; 18 MILLION TREES CANT BE WRONG Part 1

    Details

    Glasgow Rotterdam: leaving to come home. A radio play [aka city sound walk], documentary and sound composition in a, about the very beginning of an urban development revolution and how it affects cultural Glasgow – a start of gentrification that for the artists and the cultural offer does not always turn out favourably? In Glasgow, some people were convinced that the Rotterdam Architectenburo Rvdmv is the ideal partner is to make the city metamorphose together with the city council, using Rotterdam as a shining example . One of the ideas was to plant 18 million trees (hence our title). Always a good idea, of course, but do we have that many trees in Rotterdam? And what should those Glaswegians with 18 million trees? We know Glasgow as an economically backward old Scottish city, where for a long time nothing has really been done to tackle some issues, urban renewal in any case not. It is not going too well economically, witness the many empty shops / places in the inner city. We didn’t have any associations with Rotterdam in Glasgow, 2 different worlds, too in time perception there is some degree of warp. In 2018 we made a large set up and community and art radio project carried out with, for and by the residents of Glasgow, framed and or framed by local and international artists. We got some interesting in and glimpses into the scottish soul (…) We always intended to go back to it to work with a number of people on projects and exchange mutually. In 2 parts the listenere will find out how that turned out….

    Part 1
    By; Lukas Simonis and Henk Bakker.
    Thanks to; Barry Burns.
    Interviews part I; Barry Burns, Mark Vernon, Tony Morris, Eothen Stearn, Elina Bry.
    Rotterdam, Glasgow november/december 2021.
    A RadioWorm/Klangendum production.
    Thanks to Droom en Daad.
    Produced by:
    Henk Bakker
    Lukas Simonis



  • 6:00 pm - 7:00 pm

    Helena Celle - Dreams in the Worm House

    Details

    My partner and I visited WORM in Rotterdam, courtesy of Radiophrenia. We recorded over a days worth of improvisation on an optical disc organ. I edited those recordings down to ninety-nine fragments, then wrote a computer program to represent them in a specific manner over the course of two hours. During recording, my thoughts were occupied by the following: attribution of personhood to the marginal via the radiophonic, animating the inanimate, the early work of The Residents (to whom I owe the kernel of my outlook on life), the uncharacteristically whimsical organ music of Anton LaVey released on Amarillo Records, backmasking and contemporary incidence of satanic panic, Dario Argento’s Suspiria, La Monte Young’s Dream House, and HP Lovecraft’s “Dreams in the Witch House”.

    Helena Celle is a Glaswegian artist and audio engineer. She is concerned with the participatory representation of the imaginal through the organisation of sound, image and language, and currently produces an hour (or more) of original work for patrons every month. She plays guitar in the band Herbert Powell (Lost Map Records), and previously played bass guitar in the band Anxiety (La Vida Es Un Mus Records).

    https://www.patreon.com/helena_celle

  • 7:00 pm - 7:30 pm

    Good Vibrations Resonate Group - Resonate

    Details

    RESONATE is a combination of sound, performance and documentary about the Good Vibrations Resonate group who meet weekly in Glasgow to play music together. Unlike many community music projects, this group play traditional Indonesian Gamelan instruments – usually in an improvised way – and over time have become fluent in their use.

    Bio:

    Good Vibrations’ Resonate group is an inclusive music group who play the instruments of Indonesian gamelan orchestra. They focus on wellbeing, social connection and making their own music.

    https://www.good-vibrations.org.uk/resonate/


  • 7:30 pm - 8:00 pm

    Siobhain Ma & Rhiannon Walsh - Journey Through the Auricle

    Details

    “Journey Through the Auricle” is a voyage through an elevator centring on exploration and internal and external discovery. Stop one consists of a commission from your ears. They have enlisted our help to clear out the clutter and clatter of what is going on upstairs. Stop two takes you to an unknown land, rich in colour and restorative light beams. While stop three nourishes your roots and provides a sound bath for the senses. Throughout this collaborative piece Siobhain channels the imagined environments through dreamlike synths, while Rhiannon uses metallic and machine-like sound and voices that are not her own. Siobhain Ma is a sound artist who explores themes of identity, environment and (sometimes) the supernatural in her work. Rhiannon Walsh is a sometimes audio maker, writer and Reiki practitioner. She enjoys producing content centred around the body, nature, rest and meditation – including ASMR.

  • 8:00 pm - 8:40 pm

    claire rousay - from home to lowcountry

    Details

    “from home to lowcountry” documents a solo journey from my home in San Antonio to one of my favorite local bars, Lowcountry. This journey was originally documented as an unaltered field recording. Later, I decided to record an accompaniment to this field recording that included piano, organ, vocal samples, and various other electronics. The accompaniment acts as an emotional compass that guides the listener through my 36 minute journey from home’s front door to the patio bar.

    ‘from home to lowcountry’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

    claire rousay is based in San Antonio, Texas. Her music zeroes in on personal emotions and the minutiae of everyday life — voicemails, hapatics, environmental recordings, stopwatches, whispers and conversations — exploding their significance. rousay has released music on a range of labels, most notably Astral Spirits, Second Editions, Longform Editions and American Dreams, who in 2021 released a softer focus, a collaboration with visual artist Dani Toral. rousay’s music has received acclaim from NPR, which writes that rousay “enchants the ordinary,” and Pitchfork, which calls her music “quietly devastating.” rousay has presented music at Audiograft Festival, Casa Del Lago (CDMX), Issue Project Room, Rewire Festival, and Salon De Normandy (Paris), among many others, held residencies at Rhizome DC and Elastic Arts Exposure Series, and performed with musicians such as Ken Vandermark, Ingebrigt Haker-Flaten, Jacob Wick and Theodore Cale Schafer

    https://clairerousay.com/

    https://clairerousay.bandcamp.com/

  • 8:40 pm - 9:00 pm

    Steve Urquhart - Doing Bird mixtape side B

    Details

    DOING BIRD

    Scotland’sSounds at HMP Perth

    Inmates atHMP Perth engage with archive birdsong and oral history recordings fromthe Scottish Ornithologists’ Club in a unique, creative audio art collaboration.

    Peesweeps meet hip hopbeats, grouse unlock coded prison language, and an unhatched kestrel chickprovokes philosophy…

    “To be abird, even just for a day, would be… freeing. Just free. Where would you go? Idon’t know – I’m just gonna fly!”

    In prison, people are literally separatedfrom the outside world, and from the natural world. It can be disturbingly easyto disconnect from life beyond prison walls.

    And yet, a sound that’s oftencited by prisoners as one of their few direct live links with the outsideworld, is birdsong.

    When the National Library of Scotland invited artists to engage community partnerswith archive audio collected by members of the ScottishOrnithologists’ Club, I proposedworking with people being held in one of Scotland’s prisons.

     Why prison?

    “With birds,there’s a pecking order – same as there is in the jail!”

     In prison, avian languageand symbolism are widespread. ‘Doing Bird’ is a slang term for being in prison,as is ‘jailbird’. Many prisons are divided into ‘wings’. Bird tattoos oftenhave specific meanings.

    Among the principal stated objectivesof prison are constructive engagement, recovery and reintegration. Through thepowerful sensation of sound, I wanted to bring the outside world directly intoprison, to encourage inmates to actively consider – and to engage creativelywith – life, experiences and sounds far removed from their cells, as theyprepare for release.

    Those taking part are allproducer-presenters at HMP Perth’s ‘Insider Radio’ (the station launched in2021). Together they’ve produced the ‘Doing Bird’ mixtape – Side A and Side B –two ambitious, personal and celebratory new compositions for radio and digitallistening, blending archive material with their own stunningly imaginativeresponses through music, spoken word, and sound art.

    “Somemornings, between 3 and 4am, I’ll hear a smaller bird, like a robin. That soundtakes me back to being at home.”

    Engaging with Scotland’s archive birdsongrecordings encourages the men to recall positive memories, to spark creativity,to reflect on the purpose of prison, and to re-evaluate their connection to theworld beyond prison walls. They also think deeply about the accessibility andvalue of oral history recordings, and about who gets to be involved.

    ‘Doing Bird’is supported by the National Lottery through Creative Scotland.

     It’s also supported bythe National Librarian’s Innovation Fund, and by the Scottish Prison Service.

    The two pieces (each 19minutes in duration) are created by eight inmates working at HMP Perth’sInsider Radio, in collaboration with the sound artist and radio producer Steve Urquhart.

    ‘Doing Bird’ was first broadcast on InsiderRadio, HMP Perth, in March 2022, and scheduled for broadcast on National Prison Radio and ResonanceFM in Spring2022.


  • 9:00 pm - 10:00 pm

    Dr Klangendum - GLASGOW ROTTERDAM; 18 MILLION TREES CANT BE WRONG Part 2

    Details

    GLASGOW ROTTERDAM; 18 MILLION TREES CANT BE WRONG

    Glasgow Rotterdam: leaving to come home. A radio play [aka city sound walk], documentary and sound composition in a, about the very beginning of an urban development revolution and how it affects cultural Glasgow – a start of gentrification that for the artists and the cultural offer does not always turn out favourably? In Glasgow, some people were convinced that the Rotterdam Architectenburo Rvdmv is the ideal partner is to make the city metamorphose together with the city council, using Rotterdam as a shining example . One of the ideas was to plant 18 million trees (hence our title). Always a good idea, of course, but do we have that many trees in Rotterdam? And what should those Glaswegians with 18 million trees? We know Glasgow as an economically backward old Scottish city, where for a long time nothing has really been done to tackle some issues, urban renewal in any case not. It is not going too well economically, witness the many empty shops / places in the inner city. We didn’t have any associations with Rotterdam in Glasgow, 2 different worlds, too in time perception there is some degree of warp. In 2018 we made a large set up and community and art radio project carried out with, for and by the residents of Glasgow, framed and or framed by local and international artists. We got some interesting in and glimpses into the scottish soul (…) We always intended to go back to it to work with a number of people on projects and exchange mutually. In 2 parts the listener will find out how that turned out….

    Part 2
    By; Lukas Simonis and Henk Bakker.
    Thanks to; Barry Burns.
    Interviews part II; Barry Burns, Mark Vernon, Tony Morris, Gyz La Rivière, Ellie Harrison, Weegee, Graeme & Fraser.
    Rotterdam, Glasgow november/december 2021.
    A RadioWorm/Klangendum production.
    Thanks to Droom en Daad.
    Produced by:
    Henk Bakker
    Lukas Simonis

  • 10:00 pm - 10:40 pm

    Alias Domaines - Being On This Boat Is Not Revenge

    Details

    Alias Domaines is a cross-Atlantic collaboration between Sukaina Kubba and Craig Mulholland.  
    Alias Domaines is a semi-fictional space where exchange occurs by proxy.
    Alias Domaines is theoretically and virtually located on a cruise ship that travels between the ports of New York City and Southampton, UK.
    Our ship is part of the Cunard Transatlantic Fleet, a real cruise ship company.

    CUNARD: The Cunard brand is a nostalgia for art-deco design and lifestyle aspirations.
    From a post-colonial perspective, art-deco functions as sugar-coating or white-washing of harsh modernist and colonialist power relations driving international capitalism.  While it inhabits a space outside national lands and laws, the Cunard is an allegory for British class relations and British colonialism.  
    A cross-section of the ship reveals a microcosm and floating representation of the hierarchy of class and racial structures.

    SETTING: First Class Lounge, Deck, Cabins, Storage Unit and Connecting Spaces

    CHARACTERS: Beverly Valenzuela: Concierge and Aspiring Fashion Designer
    John Templeton: Entertainments Manager and Pianist  

        “Being on this boat, it’s not revenge”
        Edouard Glissant, filmed aboard the Cunard from Martinique to France, reflecting on the terrible journey his ancestors took in the opposite direction across the Atlantic. From “Edouard Glissant: One World in Relation” directed by Manthia Diawara, 2009

    ALIAS DOMAINES (2021-22) is generously supported by the Canada Council for the Arts

    Sukaina Kubba is an Iraqi-born artist living in Toronto. She has exhibited at the Aga Khan Museum, Toronto; CCA, Glasgow; Glasgow International; Hilary Crisp, London; and Kendall Koppe, Glasgow. Upcoming residencies include International Studio and Curatorial Program, NY. Kubba was lecturer and curator at the GSA.

    http://Www.sukainakubba.com

    Craig Mulholland lives and works in Glasgow. He has exhibited at Glasgow International;Queens Park Railway Club; LGP Gallery, Coventry; SWG3, Glasgow; Spike Island, Bristol; and Tate Britain, London. Mulholland is represented by Koppe Astner, and is course leader and lecturer at the GSA.

    https://www.craigmulholland.com/

  • 10:40 pm - 11:00 pm

    Leonie Roessler & Mark Vernon - Light Cloud and a Moderate Disease

    Details

    A meditation on memory and clarity – attachments to objects, people and places, losing and finding things, letting go of things, the blurring of edges and the obfuscation of meaning.
     
    Produced during a micro residency at Studio LOOS, Den Haag in September 2022.

    A studio LOOS production by Leonie Roessler & Mark Vernon.

  • 11:00 pm - 12:00 am

    MME dUO - I all go rythmus

    Details

    I all go rythmus
    describes a series of laconic islands
    with the most diverse vegetation
    of dense voice fragments
    and clearings,
    which we follow along a Hummingway,
    fringed by
    repetitive blurred and unfiltered
    reflections and recordings

    In “I all go rythmus”, MME dUO challenges and explores above all the crazy wilderness of gaps, over and through which to stumble, to explore what is in between, above, below and beside.

    Since 2016 Cologne based Patricia Koellges and Tamara Lorenz make use of a variety of instruments and devices: DIY electroacoustics, small synths, loopers, tuning forks, e-bass, percussion and voice are thrown into the game and shape a sound in the tradition of Musique concrete, Post Punk and factual Dada that is as diverse as it is striking in it’s interplay between dissonant sounds and harmonic sequences, breaks between a-tactical accents and continuous rhythms, the supposed familiarity of spoken language, which is nevertheless alienated by fragmentation, give rise to unusual sound collages in the overall work that explores the potential for ambiguity that arises from the interweaving of a variety of disciplines, including video, sound, collage, sculpture, fashion and photography.

    http://www.mme-duo.de

    https://mmeduo.bandcamp.com

    https://www.instagram.com/mme_duo/