Thu 07

A reimagining of the 1970's classic pop song by Blondie in an Arte Povera style from the perspective of a child murderer...

Artist bio:
STORYTELLER is an electro-acoustic Spoken word collaboration between writer & occasional filmmaker Bruce McClure and sound artist Bjørn Hatleskog.

Website/social links
https://www.adaadat.co.uk/storyteller4/

A social media influencer journeys outside the comfortable world of her online homelife, with startling results, in this retro-futuristic radio drama.

Artist bio:
Pete Petrisko (aka Media Petros) is a multi-media artist based in Phoenix, AZ (USA)

Website/social links
https://www.instagram.com/mediapetros/

https://www.facebook.com/PetePetrisko

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/

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

Two sci-fi inspired electronic soundscapes - Omnii, the lush vampy ballard-esque shifting sands of the universe, and Multitudes of Venom, the fractal cousin of Omnii who displays disembodied fervor for extra dimensions.

Artist bio:
Blevin Blectum is an electronic musician living in Willits, California, USA, on a mountain top in a forest with her cat Lu.

Website/social links
ttps://http://www.facebook.com/blevin.blectum
https://vimeo.com/user2673719
https://soundcloud.com/blevinblectum
https://blevinblectumx.bandcamp.com/
https://en.wikipedia.org/wiki/Blevin_Blectum

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

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

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

A piece for radio without words, only Atmospheres, audio acoustic; narrative patterns. A portmanteau of following sounds; in a sequence that a range of ideas referring to the return or persistence of elements from the social or cultural past, as in the manner of a ghost in the machine.

Artist bio:
A international Group project with a ever changing line up which started in the mid eighties; Since there have been many times of inactivity, and lots of recordings have been lost down the years. Various members joined and left, lots of tapes of unlistenable noise were made, sold or given away, only to be played once, and mostly for only a few seconds. There's a story that a party in the late eighties was ruined by a Mutant Beatniks album being accidentally selected from a pile of cassettes. From the years of not self editing, a open space arrived, and in this clearing was a sound set with out ego

Website/social links
http://mixseriescollection.bandcamp.com

1 andre birken - 31 monstrous demonstrations – ELLOIUSANDA (3:44)
2 Ulrike Janssen - I KEPT HAVING SOUND CRACKLES IN MY HEAD (16:26)
3 M Cristina Marras - Unwanted Intimacy (3:27)
4 Frederico Pessoa - Movimento, pausas e repetições (movement, pauses and repetitions). (6:00)
 
 
1) andre birken - 31 monstrous demonstrations – ELLOIUSANDA
 
why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

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


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

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

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

 
3) M Cristina Marras - Unwanted Intimacy

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

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

 
4) Frederico Pessoa - Movimento, pausas e repetições 

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

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

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

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

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

 
6) Aurora Engine – Flutter

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

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

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

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

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

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

 
8) Chantal Francoeur - Requiem Ecolo

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

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

Digging Where We Stand (DWWS) was made in Spring 2024 for ‘Loose Tomatoes in the Back Yard’, an exhibition as part of GI Festival at Rumpus Room. The show brought a group of artists together to work with children and families to cultivate, build, write, make – becoming collective caretakers of the garden at Rumpus. It features 13 tracks recorded by kids in the yard who interviewed each other and shared stories from the garden alongside music made with Charlie Knox, Nadia Rossi, Angel Walker and Holly White. Track 8 features Jenny Pengilly and babies and carers from a playgroup called Romp Around, recorded in Autumn the year before at the Hidden Gardens, Glasgow. DWWS was mixed and mastered by Practice Good Practice at The Space, Glasgow, artwork by Nancy aged 5.

Artist bio:
Nadia Rossi is a Glasgow-based artist working in collaborative practice. Nadia embraces a do-it-together approach to explore how we can use play and performance as tools for social and political reimagining, often working with children and young people. Together they make things like sculpture, zines, banners, interventions and community events. Nadia is a co-founder of Rumpus Room, an artist-led org working on art & social action projects with kids and young people in Govanhill Glasgow,  was part of the performance art group Fallope & the Tubes and is one also half of the artist collaboration Pester & Rossi.

Website/social links
https://nadiarossi.bandcamp.com/album/digging-where-we-stand
http://rumpus-room.org/

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

1 Freya Dooley - Useless and Precious (8:32)
2 andre birken  - 31 monstrous demonstrations - EFFO ISN E (0:46)
3 John Roach - The Airborne Library – (15:40)
4 Barnabas Sharp - Swallow the Universe (7:30)
 
 
1) Freya Dooley - Useless and Precious

Useless and Precious is an experimental composition produced from a personal archive of vocal recordings, intercepted by samples of a monologue from Fellini’s 8 ½ (1963); a film about a self-involved director’s struggle through a fragmented creative process. The composition is created solely from manipulated voices which ventriloquise the instruments of an erratic orchestra. A polyphony of disparate voices collides and briefly syncopates.

Freya Dooley is an artist based in Cardiff, UK. Her practice spans sound, writing, moving image and performance. Often rooted in close-range observations, layered narratives and soundscapes navigate the harmonies and tensions between personal and collective experiences, with a particular interest in structures of work and domestic living. Freya was the Creative Wales-BSR Fellow at The British School at Rome in 2021 and was awarded a PRS Women Make Music Award in 2023. Solo exhibitions include False Note, Site Gallery, Sheffield (2024), the Artes Mundi Wales Venice 10 Commission (2022-3) and Temporary Commons, Jerwood Solo Presentations, Jerwood Arts, London (2021).
http://www.freyadooley.com
@freya_dooley (instagram)

2) andre birken  - 31 monstrous demonstrations - EFFO ISN E

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

 
3) John Roach - The Airborne Library

The Airborne Library uses Charles Babbage’s Ninth Bridgewater Treatise (1837) to explore the persistence of transmitted sound in the media. Babbage, an eccentric mathematician whose “difference engine” was a precursor to the first computers, posits that sounds, once uttered, are permanently inscribed in our atmosphere, he writes: “The momentary waves raised by the passing breeze, apparently born but to die on the spot which saw their birth, leave behind them an endless progeny, which, reviving with diminished energy in other seas, visiting a thousand shores...will pursue their ceaseless course till ocean be itself annihilated." Despite Babbage’s imperfect understanding of the physics of sound, his suggestion that our words endlessly circle the globe, provides a powerful metaphor for the transmission of sound. It is a harbinger of our current mediascape in which the inscription of fleeting events becomes permanently etched into the public record.

John Roach is a Queens, NY based artist and educator whose work is concerned with the often slippery role of sound in how we perceive the world. His most recent projects have explored the ability of sound to construct immersive portraits of places, and how the careful assembly of spatialized field recordings, sound design elements, and voices can connect a listener to unexpected impressions of a landscape or soundscape.
https://johnroach.net/
https://www.instagram.com/johnroachart/

 
4) Barnabas Sharp - Swallow the Universe

This is an experimental audio score composed and performed by myself, which is inspired by the comic book of the same name by João Caridade (used with permission).
Caridade describes the comic book as a journey that "combines the processes of digestion with sci-fi influences"; I decided to combine pitch-manipulated vocal recordings of nasal and throat 'noises' to create a soundscape that pairs universal creation with the human digestion process.

Barnabas Sharp is a composer and vocal performer. Their compositions range from neo-classical to experimental in genre, and have written for solo piano, song, choir, orchestra, film score and electronic performances. They enjoy manipulating classical forms and expectations to please and surprise a 21st-century audience, featuring themes of religion, queerness, nostalgia and hope. They are a professional tenor/baritone/bass and currently sing with the Queen's College Choir at Oxford, and are also a tenor choral clerk at St. Michael's of the North Gate.

bsharpproductions.co.uk
Facebook: @BSharp97

5 Kari Kraakevik - A Dream? (9:25)
6 Alica Tserkovnaja - Trace it (5:17)
7 Zhanraw - you have a way with rebar (10:31)
 
 
5) Kari Kraakevik - A Dream?

A Dream? is an electro-acoustic collage in which the created and  recorded sound samples depict bedtime routines, activities in ones brain, last thoughts before falling asleep, and of course, the REM, or dream cycle. This piece starts with sounds of a typical end-of-the-day routine, brushing teeth, talking to loved ones, preparing the bed, nighttime prayers etc…coupled with thoughts or reflections on the days events. As one becomes more tired, reality and conscious conversations become intertwined with past or present subconscious thoughts and conflictions. The remaining discord between conscious reality and subconscious thought reveals the theme of this piece. Finally, when sleep overcomes consciousness, the subconscious fears and buried spiritual and or emotional turmoil triumphs over reality. However, restless sounds and the consistent heartbeat remind the listener of the dual nature of sleep: reality vs. the subconscious thoughts and fears coexisting in the same body.  Waken from the chaos of this duality, the subject, alarmed, asks the perennial question; “was it just a dream?” thus, reflecting on the ambiguity of sleep and consciousness, the ambiguity of reality and disillusion and the ambiguity within us all. This was composed, recorded and edited using digital and sequencing software such as Protools, LogicStudio, SampleTank and MetaSynth 4.

Kari Kraakevik is a composer currently living in Boulder, Colorado, where she obtained her Masters in Music in 2011. Her body of work consists of chamber, orchestral, vocal, electroacoustic and even jazz, often using textualism as her main palette of sound. She creates stories with or without words that paint a tone-picture. Composition has always been my her love, and forever constant in her life. She is currently an entrepreneur of two successful arts businesses in Boulder, CO for the past eleven years, and her goal is to pass on her love of interdisciplinary media arts to her students.
http://www.take2tunes.com
@take2Tunes (insta)

 
6) Alica Tserkovnaja - Trace it

Trace it

It's what you could do - with the capacity you had
It's what you did - with what you were given
It's what you found when you clicked and played and played - can you trace it? Sniff it? Climb it?

Alica Tserkovnaja - (b. 1988) based in Stockholm (SE) - works through expanded choreography, acting, text, sound and moving image. She seeks out attentiveness and rhythm, the now, drawn to the dreamy and alluring. Alica holds an MA in Music Performance from Malmö Music Academy and a Bachelor in Mime Acting from Stockholm University of the Arts. Tserkovnajas works has been shown at Konträr, Stockholm(SE), Inter Arts Center, Malmö(SE), Centre for Contemporary Arts, Glasgow(SCT) and Assembly Roxy, Edinburgh(SCT).
http://www.alicatserkovnaja.com

 
7) Zhanraw - you have a way with rebar

“you have a way with rebar” - This incendiary piece erupts with the tumultuous emotions of anger and frustration, laying bare a destructive force that narrows perception to a razor-thin pinhole.The raw energy of these feelings crashes against a desperate yearning for connection, revealing the profound isolation that often accompanies such intensity. It dares to expose the cracks in our emotional armor, suggesting that fragility and tenderness can harness and tame the raging bull of our fury. This work is a brutal invitation to confront the searing moments that flicker amidst our vulnerability, highlighting the volatile connection between ferocity and gentleness. Ultimately, "you have a way with rebar" serves as a jarring reminder of our capacity to uncover strength in delate states, demanding we grapple with the dark corners of our psyche to forge connection through raw understanding and unapologetic empathy.

Zhanna Rozenberg (aka zhanraw) is a multidisciplinary artist working in sound, film, poetry, performance, and installation. Her recent work, Unsaid (1/31 & 2/31), debuted in 2024 with a performance by the Bergamot Quartet, Payton MacDonald, multi-channel audio, and video projection. Like many prior works, it explores the interstitial and manifold aspects of experience: matters of attention, conditions of embodiment, perceptions of self, time, the other, and one’s one’s environment. Her interdisciplinary approach reflects her fascination with how technology can bridge the personal and the societal, turning complex questions into immersive experiences that provoke both thought and emotion.
https://www.instagram.com/zhanraw/
https://soundcloud.com/zhan_raw/sets/days-and-nights

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1) Lin Li - Listen Now (12:00)
2) Luigi Morleo - CLIMATIC EXPRESSION (11:09)
3) Jules Bradley – melting (3:03)
4) Nick St George - Gentle Nymph (5:52)
 
 
1) Lin Li - Listen Now

Listen Now is a collage of spoken words, original recordings and found sounds about time, with a focus on the concept and the conscious experience of ‘Now’.

It consists of sounds in the public domain, a clip from the Youtube video "Thich Nhat Hanh on the Present Moment – Walk with Me" by the Irish Film Institute; extracts from "T. S. Eliot reads ‘Burnt Norton’ (1935)" by brainpicker on soundcloud.com. It also includes a quotation from Bernardo Kastrup’s article "Solving the Mystery of Time" published in 2023 on iai.tv, and a widely quoted passage written by Albert Einstein in 1955 in a personal letter.

The words were spoken by Lin Li and synthesized voices.

Lin Li is based in Edinburgh. Her creative practice centres on the use of sounds, along with both still and moving images. Her audio works have been broadcast in previous editions of Radiophrenia.
http://www.linli-art.com

 
2) Luigi Morleo - CLIMATIC EXPRESSION

CLIMATIC EXPRESSION is the latest electronic work by Luigi Morleo, dedicated to the climate change of our planet. This song aims to raise awareness of the climate problem; with the sounds of our planet Earth it is possible to create a sound expression.

Luigi Morleo (born 16 November 1970 in Mesagne, Province of Brindisi) is an Italian percussionist and composer of contemporary music, who lives in Bari and teaches at the Niccolò Piccinni Conservatory. He uses varied musical and artistic styles like minimalism, rock-cross-over, folk-Pop, jazz, electronica and DJ. Many of his works have been played at PASIC (Percussive Arts Society) in Nashville-USA, Federation Bells of Melbourne-Australia, and at the New York City Electroacoustic Music Festival-USA and Festival MUSLAB from Mexico, Festival Futura Electronic – France, Festival En Chair et en Son - France, Jasmin Vardimon Company from Ashford-UK.
https://www.instagram.com/luigi_morleo/

 
3) Jules Bradley – melting

melting is a audio meditation on scale and the fascination with apocalypse. It asks listeners to sit with melting ice in multiple forms: global and catastrophic to molecular and mundane.

Jules Bradley is a producer, sound artist, and oftentimes farmer living between Maine and Brooklyn, USA. She’s had works appear on BBC4 Short Cuts, Audio Flux, the Radio Project, and more. She is currently a creative producer at Vox Creative as well as a freelance producer and teacher. She’s also the co-creator of Inherited, a youth storytelling podcast.
juliannabradley.com
jayy_gee_bee

 
4) Nick St George - Gentle Nymph

The title is ironic. Sabrina, the nymph/goddess of the Severn is far from gentle these days. Towns along the Severn such as Bewdley, Upton and Tewkesbury regularly suffer from severe flooding. The piece comprises primarily processed hydrophone recordings of the Rivers Severn and Teme (one of its tributaries) taken when both rivers were in spate. There are also readings from Milton's masque "Comus", first performed at Ludlow Castle in 1634, and which features Sabrina: "...a gentle Nymph, not farr from hence/That with moist curb sways the smooth Severn stream".  Ludlow sits on the Teme.

Reader: Cheryl St George.

An earlier version of this piece was made for the Worcester Open Art Exhibition (theme: flooding) in 2023.

Nick St George is a former radio and television producer/director/presenter, now making sound art in Worcestershire. His audio pieces have been exhibited at at the Bath Fringe Festival, the Wells Literature Festival, the Little Islands Festival and the Monitor Festival (both the latter in Greece). His work has been broadcast on Resonance-FM, Mayfest Radio and Frome-FM. He has compiled and presented two mixtapes for 'Sound and Music', and in 2018 won the Orchestra of Samples Remix Competition. "Don't Be Alarmed", his short film with a soundtrack based on manipulated field recordings, was screened at this year's Borderlines festival.
https://soundcloud.com/yesonsofart

5) Lananh Chu – polysyndeton 2 (2:42)
6) Phil McDonald - A Figure (8:40)
7) Olivier Julien - Peter Kay's Meat Grinder Chortle (6:58)
8) Frontera Glaciar – HERMANO FANTASMA  (6:20)
 
 
5) Lananh Chu – polysyndeton 2

I name it “polysyndeton” to contrast with "asyndeton," which is the effect of erasure or unhearing many sound elements in everyday life (Augoyard and Torgue 26). In the process of composing “polysyndeton,” I have listened, ardently and meditatively, to sounds around me, namely, water rising and water boiling and water dripping and leaves drying and flowers crumbling and boiler and heater and toaster and cooker and a vase long time no touched and a wine glass often thirsty and a fridge always moaning and my stomach forever hungry and foil and plastic and papers and ...

Lananh Chu is a Vietnamese maker and writer, who wants to listen with her/their flawed ears.
https://linktr.ee/lananhchu

 
6) Phil McDonald - A Figure

Caitlin is a moving drama that celebrates contentment in solitude. The tone is meditative and philosophical with hypnotic ambient music. Told in snapshots of normality, the everyday poignant observations become epic, revelling in specific human details, celebrating the life of a serene and detached woman. We move from Caitlin narrating her own life in the third person as free indirect discourse, to those she crosses paths with, as she inadvertently affects them. The introspective nature of the character and the pace and tone in which she experiences the world lends itself to audio in particular. Her meditative eyes on the world lean into the medium of audio narration and, with the use of soundscapes and ambient soundtracks, the episodes would become a personal and enchanting listening experience. People might enjoy it on a dog walk, drifting off to sleep or just escaping.

Phil is a teacher and writer. He has had a piece of work with Radiophrenia in 2023 under the name butteredfeet but this submission is him working alone. He has been making Caitlin for a year now and enjoyed something of a cult following. Before becoming a teacher in a secondary school in Newcastle he worked as a Script Editor in the film industry.
https://open.spotify.com/show/0nYr0AEniW7EMT22NCpvIv?si=o2MP59ZFTFq7Ay0-mjVg4Q
https://podcasts.apple.com/gb/podcast/caitlin/id1703310815
Instagram: caitlinisalone

 
7) Olivier Julien - Peter Kay's Meat Grinder Chortle

Whilst consultants hum chuckle to memories of this n that a select group of civic engineers mad on embroidered drool and UB40 drill to the centre of the earth in search of Heaven or Hell only to find nothing (nothing), nothing: nothing.

I am an artist working with sound, performance and video based in Glasgow. I work with found objects, text and memories and attempt to bring them back into the world, converse with them and re-substantiate them. I love the phrase salvage punk.
https://www.olivierjulien.co.uk/

 
8) Frontera Glaciar – HERMANO FANTASMA

From  EP “Patio Nevado”

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

Ignacio Núñez Oyarzo (Patagonia, Punta Arenas) Graduate in Education (UMAG, 2015) Pedagogue (UMAG, 2016) and Master in Arts (PUC, 2020). Sound artist, producer and DJ. Frontera Glaciar is his artistic name and personal space in which Ignacio experiments and combines soundscapes of the Patagonian territory with various voices. His name is due to the fact that he was born and lives in the city of entry to the polar territory. His line of work is divided into the creation of sound series (radio art) and sound experimentation and live performance. And he develops projects linked to: climate change, territory.
https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar
https://soundcloud.com/frontera-glaciar
https://fronteraglaciar.bandcamp.com/album/patio-nevado

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

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

https://phewjapan.bandcamp.com

“When in kitchen” composition was made with some sculptures of my recent sound installation “twist” which was presented in June 2024 at the Subset Festival and the Athens Epidaurus Festival. Sound sculptural constructions of objects and shapes with a feminine accent (bowls, plates and cutlery, faux pearls, seeds etc.) are twisting and turning in a synchronized dance balancing between the fragile nature of materials such as glass and the tenuous dynamics of their sounds. The outer shell of metal, paper, glass and ceramic surfaces and their inner elements create diverse qualities of sounds. Utilizing the kitchen tools and equipment as my musical instruments, I aim to give them the voice to say loudly our feminine song. Artist bio: Magda Lampropoulou (b. 1977 Athens) is a sculptress and sound artist based in Athens, Greece. Her artwork engages with diverse, expressive media including audio, performance, sculpture, installations, and video. With emphasis on issues such as discrimination, prejudice, and moral values imposed by a given society, she assumes a humanitarian approach to her work. She holds a degree in Sculpture from the Athens School of Fine Arts. Her participation in exhibitions, festivals, artistic radio podcasts and residencies (“Subset Festival”-Athens Epidaurus Festival/ "Tectonics Athens21", Onassis Cultural Centre), has resulted in her identifying her work methodology. https://magdoulas6.wixsite.com/magda-lampropoulou https://www.instagram.com/lampropoulou_magda/ https://www.facebook.com/profile.php?id=100009992858432 https://www.facebook.com/profile.php?id=100063475181193

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

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

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

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

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

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

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

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

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


4) Gabriel Mininberg – Valentine

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

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

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

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

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

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

 
6) Brodie Ainsworth - The Dissassociate

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

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

 
7) Vera Resnick - Calls in the Storm

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

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

 
8) Marie Koppel – Menschensteine

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

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

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

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

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

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

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

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

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

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

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

1) Anna Piva (Suhabart) - Transmission / For Alice Duration (14:00)
2) Cecilia Assalini – Desarticular (1:56)
3) MME dUO - Jumbo Shrimp Flottante (16:30)
 
 
1) Anna Piva (Suhabart) - Transmission / For Alice Duration

The Transmission / For Alice is a 14-minutes montage/edit of an audio art installation exhibited in Radio Alice: Linguaggi e Creativita’ (2017) for the 40th anniversary of the closure, in March 1977, of the Bologna free radio station Radio Alice by the armed police forces. The installation soundscape is a reshape of Radio Alice’s archival recordings, provided by Valerio Minnella, one of the founders of the radio. The assemblage includes the sounds of its final transmission, during the youth uprising which followed the killing by the Carabinieri of the student Francesco Lo Russo, with the voice of Valerio broadcasting live during the armed police break-in which led to his arrest and the forced closure of the radio in March 1977. These archival sources are traced and dubbed in a layered composition mixed with atmospherics, electronics and field recordings, to evoke a sense of personal memory, deep time, and present resonance.
https://www.mixcloud.com/SOASradio/playlists/altertimes-by-suhabart/.

 
2) Cecilia Assalini – Desarticular

"Desarticular" is an experimental piece I created during the pandemic, a time of confinement and isolation that led me to question the boundaries between noise, sound synthesis, and musical structure. The piece explores the fragmentation of sound and the deconstruction of traditional sonic landscapes, using techniques of synthesis and digital processing. Through layers of noise and electronic textures, "Desarticular" seeks to transform chaos into an auditory language that reflects on rupture and reconstruction, both personal and artistic. This project represented an opportunity to dismantle my own creative limits and find new forms of expression within disruption.

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

 
3) MME dUO - Jumbo Shrimp Flottante

We were there for studio recordings, les voisines in residence.
When storm Ciàran swept through Finistère in early November last year.
Electricity went out. We saw the village vanishing in still darkness.
The storm thinned out forests and gardens. And opened the view into them.
Behind this open curtain we saw Petri mourning for his trees.
That night the jumbo shrimp encountered us.
Moi et toi là.

Jumbo Shrimp Flottante is a 16:30 min battery based recording, edited for a floating listening to a non-electrified sound.

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.

mme-duo.de/
makiphon.de/
mmeduo.bandcamp.com/
soundcloud.com/makiphon
instagram.com/mme_duo/?hl=de

4) Mary Hooper & Kate Illes - Please Write me  (5:00)
5) andre birken - 31 monstrous demonstrations - GAUMENFREUDEN 9 (0:27)
6) Tom Davison - A very Fine Substance (5:27)
7) Audrey Soetermans - Silver Spheres (4:00)
8) Lise Lebleux - I listen to whether the bells are sick (8:49)
 
 
4) Mary Hooper & Kate Illes - Please Write me  

"Please Write Me" is a collaboration between myself and artist Kate Illes. These tracks are provide a contextural soundworld for the wall mounted artwork that she created for her MA degree show. I have recorded and sampled the audio & soundscapes and composed the tracks. Kate and I both collaborated on the sound design and concept of how the sound should be integrated into the artwork. She summarises her work 'Please Write Me' here: ' The contents of a discovered suitcase cannot present a complete narrative of a life, instead, the focus lies on the delicate, fragmented nature of a personal archive, the snapshots and vignettes contained within. The gaps in information, unanswered letters, and unseen details provoke contemplation and inquiry for the viewer. With much of Popsy's life represented as blank spaces between correspondences, it is imperative for us to approach the material with a sense of respectful curiosity

My arts practice is site-specific, using of a wide range of materials and processes to create installations, objects, and sound-works. I often collaborate with artists from different disciplines, writers and musicians, incorporating research into the narratives of place, people, the patina of human occupation, and the geographical impact of the location on the way we live. I work to commission or developing self-initiated projects developing ideas through research and working with partners and groups in the community to generate the content and material for the artwork. The thing that constantly fascinates me is ‘Sense of Place’ and peoples stories
https://soundcloud.com/last-station
https://soundcloud.com/mary_2020
Instagram: @ma.hooper1

 
5) andre birken - 31 monstrous demonstrations - GAUMENFREUDEN 9

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).

 
6) Tom Davison - A very Fine Substance

A very fine substance is the Sonic disassembling of a fridge rattling harmonically by the sea on a Kefalonian Beach, Greece.
Listen attentively enough and you can hear the clouds rub against the sky.
It is part of a wider project called News From Nowhere, an album of organic drones and sonic landscapes, entirely comprised of field recordings that point to the state of meditation.

Tom Davison is a field recordist and sound designer working in London and the Wessex area. His work is folk-inspired, mostly working with drones and found sound to let the natural world compose itself, of its own accord and nature.
He is currently performing live shows in London and releasing an Album at the end of the Year.
https://www.instagram.com/tomdavisonpyjamas/
https://soundcloud.com/tommyersdavison

 
7) Audrey Soetermans - Silver Spheres

“Silver Spheres” is a radio drama composition where two characters interact in a world of drones and filters. One welcomes the other home to this unlikely sonic terrain, this uncanny home away from home.

Audrey Soetermans is a Junior Commercial Music honors student at Millikin University from Rockford, Illinois. She is currently in the Composition Studio under the instruction of Dr. Ralph Lewis. She volunteered for the Welcome to 1979 Music Production Summit in 2022 in Nashville, had an internship at the Post Punk Industrial Museum in Chicago, had an internship reviewing albums for the Los Angeles based company Mxdwn, and toured singing in France and Belgium last summer. She is also the Secretary of the recording studio Millitrax, President of the Millikin Music Business Club and is VP Membership under Sigma Alpha Iota.
https://www.instagram.com/audrey_lou21/
https://music.mxdwn.com/author/audrey-soetermans/

 
8) Lise Lebleux - I listen to whether the bells are sick

A man quickly climbs the narrow old wooden steps, reaches to the top of the bell tower and, with a bold gesture, strikes the massive bell. The imposing frequency then spreads as far as the eye can see across the village soundscape. It meets the elements, such as the wind and the birds, and is reflected on the walls of the surrounding mountains. The sound gradually spreads throughout the Austrian valley, entering houses and passing through the ears of the local people. At this precise moment, the presence of this man and his voice inhabit the place, creating a striking symbiosis between him and his environment.

Lise Lebleux lives and works between Paris and Vienna. Her artistic practice consists of creating sound compositions based on her own field recordings. She focuses in particular on the links that exist between individuals and their acoustic environments. The idea is to follow these people as they make her listen to their environment and to cross-reference these sonic moments with the wider acoustics of the area. In this way, each sound piece is the result of recordings of a specific space, with its own intrinsic conditions. She is currently working on a radio broadcast with Kunstradio ORF Ö1 in Vienna.
https://liselebleux.fr
https://www.instagram.com/lise_lebleux/
@lise_lebleux

In this interview, artist Desiree Mwalimu Banks discusses the vibrational disruptions to honeybee well-being posed by telecommunication technologies, the need to re-establish the regal and matriarchal role of bees in our world, and the importance of deep listening in drawing nearer to the more than human.  The work she describes was developed with sound artist Grant Cutler during their Transmission Arts residency at  Wave Farm in upstate NY. https://wavefarm.org/wf/calendar/jtxkpp

Mwalimu Banks is a Zambian-born, East-Coast raised, artist, writer, curator, educator, diviner, and mother, whose work explores somatic relationships between indigenous identity, water ecologies, apiary culture, and the ecstatic, within the framework of the sacred feminine and the African diaspora.

The sound-world created for this work is derived from 5 years of sonic materials from projects by John Roach that focus on the relationship between humans and pollinators. Some of these sounds include:

●    Honey burning on steel
●    Bees and hives in Narrowsburg NY and Port Austin Michigan.
●    Bee sounds re-recorded in a resonant abandoned radar station in Port Austin Michigan (thanks to Cindy Patrick at Port Austin AIR)
●    Crystal Bowls, also in Port Austin (thanks to Beth Brilinski at Centered by Sound)
●    Electrical lines in Chico California
●    The sound of hot beeswax poured on speakers transmitting bee sounds
●    Those same hot wax sounds radically and randomly jumping in time (bleeps, blips and bloops)
●    Performance excerpts by the Foulbrood Orchestra at BioBAT Art Space in 2024. (Thessia Machado, Ranjit Bhatnagar, John Roach and Concetta Abbate)

Photograph by Bryan Zimmerman


Artist bio:

John Roach is a Queens, NY based artist and educator whose work is concerned with the often slippery role of sound in how we perceive the world. His most recent projects have explored the ability of sound to construct immersive portraits of places, and how the careful assembly of spatialized field recordings, sound design elements, and voices can connect a listener to unexpected impressions of a landscape or soundscape.

Website/social links
https://johnroach.net
https://www.instagram.com/johnroachart

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==

‘Poltergeist or some scene else’ is an essayistic radio work by Yulia Carolin Kothe that takes the Barras Market's (Glasgow) syntax of artefacts as a starting point for creating an expanding and ever-evolving tableau of intense, uneasy acousmatic atmospheres. The conspicuous and omniscient narrator takes the listener on a rambling walk through the Barras entering private and public spaces, a remote cottage and various ambivalent territories home to disembodied voices and close up traces of life like a wet ring of a coffee cup just plucked from the scene. Kothe's own electronic compositions are juxtaposed with re-articulated oral histories, chopping up DIY recordings on cassettes purchased from the Barras Market, and combining with avantgarde German poems by Elsa von Freytag-Loringhoven (1874–1927), Thekla Lingen (1866-1931), Karoline von Günderrode (1780-1806) and Anna Ritter (1865–1921).

Text by Caitlin Merrett King

Artist bio:
Yulia Carolin Kothe is an artist working between Glasgow and Frankfurt am Main. Her practice moves between sculpture, film, sound, writing, installation and performance, often responding to archival material, queer feminist theory and personal and oral histories. Through forensic expansion of these materials, Kothe creates new sites, both digital and physical, glitching fictional or often partially-remembered environments that seek to configure new relational and temporal experiences.

Website/social links
https://www.juliacarolinkothe.de
https://www.instagram.com/yulia.ko_/
https://soundcloud.com/kothe-yulia

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

Artist bio:

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

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

The Walker in the Landscape began as a narrative script written and recorded by artist Caitlin Kiely in 2020. The spoken word audio was intended to be listened to as the walker or listener moved through a landscape or environment. The idea being that they occupy the space between the two characters – the Walker and the Narrator — as they temporarily locate the narrative in the physical space they occupy.

As a sound artist and experimental musician with a field recording component to their practice, David heard Caitlin’s script and began recollecting sonic memories of landscapes and environments they’d experienced, leading to conversations with Caitlin around the research and contexts surrounding her work. This prompted a collaboration which saw David conduct visits to re - wilding sites of prior extraction over the course of several years - in Wales, Cornwall and Kent (UK) - culminating in a series of field recordings and on-site material improvisations, which were then used as the basis for a composition that underpinned Caitlin’s narrative, alongside de-constructed folk improvisations (zither and saw).

David was drawn to the performance of power within Caitlin’s characters, and how these repeat and play out across multiple layers both spoken and unspoken within the narrative; from the singular, small scale character traits of the walker/antagonist to the upscaled larger affects of organising around such traits - as the landscape changes through time with human intervention. These dynamics were considered and meditated on within the compositional processes, seeing field recording and improvisation as modes for listening to, and having dialogs with, landscapes. Contrastingly, acousmatic experimentation within the computer were seen as extractive, but useful for smudging the lines between the different intersecting membranes and voices held within the dialog.

The ongoing talks and considerations around both of our practices have lead to new ideas about how we may approach these ideas going forward, which we’ll be continuing to develop in 2025. 
 
Thanks to:

Grace Emily Manning - Voice - Narrator
Roland Ross - Voice - Walker
Dominic Lewis - sound assistance in Wales

Caitlin Kiely is an artist who investigates our relationships with landscapes, through a narrative and feminist lens. She situates herself and practice between fieldwork, archive and studio – whilst occupying the role of investigator, witness and storyteller. (contact : https://www.caitlinkiely.co.uk/ // https://www.instagram.com/caitkiely/ )

 David Sappa is a sound artist interested in sound for its tactile, textural and somatic qualities, and as modes for interrelatedness and interplay that can explore dynamics between our social, psychological and material entanglements within different environments. (contact : https://davidlorenzosappa.cargo.site/ // https://www.instagram.com/bloopdyblooop/ )

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

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

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

1) IRIDE PROJECT & BERNARD CLARKE - The Witches of Montenerodomo (13:16)
2) Volker Ignaz Schmidt – EISSCHMELZE (8:06)
3) Katrina Brown & Frankie Williams - On Field Crossing (12:57)
4) Evamaria Müller - à l’heure du crepuscule (17:20)
5) andre birken - 31 monstrous demonstrations  -  TANZ MIT OLAFUR ELIASON (6:36)

 
1) IRIDE PROJECT & BERNARD CLARKE - The Witches of Montenerodomo

"Le Streghe di Montenerodomo" by Monica Miuccio was published by Keltia Editrice © 1996
(Aosta, Italy) after winning the Second Prize at "Ti Voglio Raccontare" Keltia's literary contest.
English adaptation and narration by Bernard Clarke.
"The members of an archaic community embody their fears of natural calamities in a
manifestation of Devil: Witches. The people engage in a fight against them revealing that
their superstition is not rooted in mere ignorance, but in a pre-Christian belief that their
isolation has preserved, and that now lives side by side with the Word of Gospel. But more
than prayers and magic can their sense of unity and by relying on each other in a circle of
strength they defeat the Witches in the very same  moment they defeat fear. So strong is
their belief in their actions that history takes the shape of their creed, turning reality into a
legend".

Monica Miuccio & Massimo Daví began IRIDE PROJECT in 2013. Their works have been performed in Ireland, Italy, Mexico, Spain, Macedonia, United Kingdom, Finland, Germany, Czech Republic, Portugal and Ecuador in form of acousmatic performances, radio broadcasts and live shows. Bernard Clarke is a radio broadcaster (RTÉ lyric fm). He either won or been a runner up in the Prix Marulic, URTI, Grand Prix Nova, Prix Italia, Prix Europa, Prix Phonurgia Nova, Black And White, New York Festivals. His works have been broadcast in Ireland, Croatia, Romania, Germany, France, Austria, the Netherlands, the Czech Republic, the USA, Spain and Australia
https://irideproject.bandcamp.com
https://www.facebook.com/irideproject

 
2) Volker Ignaz Schmidt – EISSCHMELZE

The installation uses underwater sound recordings of melting polar ice shelf recorded by the Alfred Wegener Institute.
These soundscape recordings interact with sounds produced by the audience as well as with the movement of the audience in the room captured by an ultrasonic sensor. The sounds get mixed up, enriched with a pathetic cello drone tone and morphed using granular synthesis.
Timbre, space and form of the installation is controlled by aleatoric processes and by sound and movement actions of the audience in the room.
This creates a fragile and psychotic sound ecosystem.
The 4-channel installation is realized with Pure Data in combination with an Arduino controlled sensor setup. This is a 2 channel excerpt of the installation.

Volker Ignaz Schmidt (born 1971 in Germany) studied computer science although his passion is music. He has composed solo works, chamber music, vocal pieces, orchestral music, one opera, conceptual and electronic music. He has written piano textbooks and he worked in school projects on contemporary music.
http://www.volkerischmidt.de

 
3) Katrina Brown & Frankie Williams - On Field Crossing

On Field Crossing is an audio work for radio exploring ideas of time, place and (dis)orientation, based on a long spring walk up St Cyres Hill on the outskirts of Honiton, East Devon. Walking up one side of the hill in late afternoon sun, crossing over the hill plateau in gradually fading light and rising full moon, walking down the other side of the hill to arrive on the edge of Honiton in the dark. We were following the route on the OS map but somehow became lost. A narrative of two walkers navigating their way home, buzzard views, mischievous forces at play and misplaced time already starting to evolve, later fed by research on topography, geology, town borders and folklore.

Written and performed by Frankie Williams and Katrina Brown.
Creative sound production by Shelley Hodgson.
‘Turn Your pockets inside out’ musically arranged and sung by Darcey Williams.

Artist Frankie Williams combines video, photography, performance and writing in explorations of interior and exterior landscapes of the self, memory, place and time - uncovering what is beneath the seemingly ordinary as a way for viewers to experience or glimpse a different perspective of what might be overlooked and multiple stories and voices human and non-human.
https://www.frankiewilliams.art/
https://www.instagram.com/frankiewilliamsart/?hl=en-gb 
 
Choreographer Katrina Brown has a hybrid research-based arts practice; working experientially through the body in an entangled process of moving, drawing and writing from which to gather sensory-visual-sonic-textual data. Her work is presented as performance-installation events, written-graphic scores, text-image publications and voice-sonic pieces.
https://katrinabrown.net/projects/
https://www.instagram.com/katrina_a_brown/?hl=en-gb

 
4) Evamaria Müller - à l’heure du crepuscule

An evening walk through a small water-rich village in the French Pyrenees in summertime. The open windows and doors, the transition from day to night allow for a complex soundscape between the going to sleep and the waking up of different creatures. These field recordings are accompanied by a synth-heavy improvisation with tape loops and effect pedals.

In her artistic research, Evamaria Müller uses sound and recording to investigate the forming of landscapes and the natural, technical and cultural mixing processes involved. By directly engaging with specific places, their histories and their acoustic signatures, her works examine the sounds, structures and objects of our environment to emphasize the voices they contain.
http://www.evamariamueller.net
Instagram: gmorrk

 
5) andre birken - 31 monstrous demonstrations  -  TANZ MIT OLAFUR ELIASON

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 Be

The radioshow Tales of mysogyny is made by art collective Otomax, featuring Cristina with texts out of "How to ruin everything for dummies". All the tracks are  recorded for the open call in a live studio set and edited afterwards.

Artist bio:
Otomax is a Dutch-Luxembourg artists' collective consisting of Nika Schmitt, Mike Moonen, Paul Devens, Fran Hoebergen, and Joep Hinssen. Otomax's work ranges from performances, print media, and music to installations. The productions of Otomax are always the sum of the input from each individual member, and the way this happens is through improvisation. The group engages with prevailing (pop) culture through irony. The materials used are secondhand, handmade, or repurposed. For example, music performances are staged with modified children's toys and old music electronics—using "circuit bending," hacked Gameboys, and self-built synthesizers and modified VJ equipment.

Website/social links
https://www.facebook.com/otomaxnonpop/
https://otomax.bandcamp.com/album/ways-to-prepare-pets-for-war
https://www.youtube.com/@otomax8711
https://soundcloud.com/user-552829231

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

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