Sat 19

(Various summonings at the end of the world)
The lights dim, the music begins, the eyes lower, the
microphone is raised and a transformation is enacted.
Spirits are raised, the dead walk and secret messages spoken.
a sacred profane space where circles of inebriate initiates gather to invoke the dead icons
What does a ghost whose meaning is unknown to us mean?
Interrupt transmission
Enhance experience
Create atmosphere:
With this insubordinate, unruly Lolling and ranting we invoke the spirit of everyday insurrection;
Featuring, Tik-tok Witch and Cargo Cult Bingo.
Captain Swing, General Neddy, Their Highnesses Ludd & Mob, Thee Püca,
Join us  {INSERT NAME OF  YOUR  MUSIC PERSONA HERE }
BLACK  RAM
BOOK  OF  GHOSTS
You have been listening to the Spectral Transmissions Research Unit.
Make yourselves at home,
This is where it all ends.    

Artist bio:  
The Spectral Transmissions Research Unit is a collaboration between Ben Branagan and Luke Pendrell dedicated to constructing, receiving and transmitting Spectral Assemblages, Producing both temporal artefacts and modes of experimental cognitive practice.
Each transmission develops through Spectral Assemblage, where fragments of everyday life gather in stochastic accumulators of latent potential, forming temporary constellations of association and alignment. These fluid states of indeterminism generate unexpected configurations, Denkinstruments enabling alternative modes of thought and meaning.
Before transmission, assemblages are collapsed or fixed. Broken symmetries crystallize into temporal moments. Fluidity is sacrificed to enable closer inspection of the encoded relations and emergent entanglements.
     

Website/social links  
https://theeluddpuca.cargo.site/
https://benbranagan.co.uk/
https://soundcloud.com/spectral-transmission

Bryophony is a curated collage of experimental audio pieces developed for the Moss Worlds research project at the University of Manchester. Between 2024-2025, Moss Worlds brought together UK specialists in bryology,  geography, literary studies, microbiology, poetry, medieval literature, museum studies, music, and ecocriticism, to explore the lifeworlds of urban mosses in Greater Manchester. As part of the project, I created a series of text scores and corresponding instrumental and electroacoustic interpretations, each engaging in a different way with mosses’ miniature worlds. This collage for Radiophrenia opens with the field essay Mosswalking, followed by Ecollage_01 (an exercise in environmental listening for improviser and field recordings). It then distorts into the microscopic aquatic worlds of Microfauna I–II, moves through the museum archive in Notes from the Herbarium, treads the quiet forest floor in An Unending Breath (interpreted by bassoonist Ronan Whittern), and closes in a bird's nest with Microfauna III.    

Artist bio:  
Henry McPherson (b.1995) is a UK-based composer, improviser, artist, and researcher. His work is rooted in improvisation as a relational, ecological performance practice. Moving fluidly between composed and improvised sound, text and graphic scores, live performance and installation, he investigates how musical attentiveness reframes relationships between human and more-than-human beings. His works frequently explore the lifeworlds of plants and animals, and the rhythms and cycles of natural phenomena. He is particularly inspired by plant ecologies, forested and oceanic biomes, night and nocturnal atmospheres, and deep geological time.
 
Website/social links  
web: http://www.henrymcpherson.org.uk
Instagram @HenryDMcPherson
music: https://henrymcpherson.bandcamp.com/
Research profile: https://research.manchester.ac.uk/en/persons/henry-mcpherson/

Misophonics #1 is the first in a series of works which utilise recordings of unwanted, unpleasant, or distressing sounds (in this case a screeching seagull) and are transformed into ambient compositions.  The project is inspired by my experience of misophonia (a disorder in which certain sounds trigger a fight-or-flight response) and the need to find control over sonic triggers, and to find beauty in something ugly.    

Artist bio:  
Ross Whyte is an award-winning Scottish composer who writes for film and theatre. He completed a PhD in Musical Composition at the University of Aberdeen.  He later co-founded the duo WHYTE, an ambient electronic act known for modernising traditional Gaelic songs.  The duo won the prestigious Scottish Gaelic Award for Arts and Culture in 2019.  Ross currently performs with A New International.  

His new album 'Provenance' is out now.    

Website/social links   
https://www.facebook.com/rosswhytemusic
https://www.instagram.com/rosswhytemusic/
https://www.rosswhyte.com/

Bug Poems leans towards sound poetry, exploring the voice, touching on strange emotions—the fear of the alien-insect, but also the fascination with it. It is an attempt to capture a feeling. The new album by FOQL is the result of months of research exploring poetry, pop culture, philosophy, and entomology in search of a new sonic and poetic language. Bug Poems moves between sound art and spoken word, weaving together strange emotions, fear of the unknown, and intimate reflection. It’s an audial poetry, where the voice becomes both instrument and narrative, and where insects turn into metaphors for our inner worlds.  It is a densely woven sonic narrative, exploring the radio play as a genre.
 
1. mushi / lampa
2. Owady świecące
3. thirty-six million little animals flying unseen above one square mile of the countryside
4. seventeen year pitch
5. pa pa biedroneczko
6. ladybird!

Composition, voice & production by Justyna Banaszczyk aka FOQL

Recorded in Łódź 2025

saxophone in A2 by Marcin Garncarek, vocal & additional synth in A5 by Tomek Popakul, drums in A6 by Piotr Gwadera, vocal in B1 by Kasumi Ozeki, in B2 vocal by Xenon & saxophone by Natan Kryszk, percussion and vocal in B4 by Szymon „Pimpon” Gąsiorek, vocal in B6 by Edka Jarząb – love to you all <3

mix and mastering by Adam Badi Donoval
Artwork, layout and photography by Tomek Popakul

special thx for Darek and Miłek <3

Pointless Geometry 2025 / POINT#65

Bug Poems was realized with the support of an Artistic Scholarship from the City of Łódź.
     
Artist bio:  
FOQL stands for Justyna Banaszczyk – she creates within the realm of experimental electronic music. Co-founder of Radio Kapitał. Author of audio dramas, theatre music, and music for games. Her compositions resonate with echoes of IDM, industrial, ambient, leftfield but the most important factors are rhythmic and sonic inventiveness, as well as continuous experimentation. Sometimes she reaches for turntables and four-track tape recorders to create sound collages under the moniker Głupiec. She co-runs Pointless Geometry, a label that releases experimental electronic music from Poland.      

Website/social links  
https://www.instagram.com/f_____o__q_____l___/
https://soundsfoolish.com/

The 2025/6 Conduction Series    

Emphasizing live radio, interactivity, and media archaeological methods, The 2025/6 Conduction Series explores themes of migration, noise, feedback, speculative fiction, transmissive theatrics, and recreational aesthetics. The collective comes together on the first Friday of every month at 3:02pm ET using custom-made software. Some sessions don't have a description and the one on October 3th doesn't have even a title. However, some have a more detail description as in The Spiral: The record groove or a strip of tape moves forward by circling, slipping into another layer each time. That coiling motion echoes how time forms paths that don’t quite repeat. The spiral frames the way patterns return at different scales, from tiny biological curves to movements that shift light, air, and weather. A shared structure keeps resurfacing and shows how things grow and reorganize, how memory drifts, and how repetition comes back slightly off axis, opening another turn.      

Artist bio:  The Conduction Series is a collaborative live radio broadcast produced by sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. Artists names are: Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, and Rodrigo Ríos Zunino. The Conduction Series is syndicated on Radio MonteAudio in Montevideo, Uruguay, Radio Tsonami in Valparaíso, Chile, Radio CASo in Buenos Aires, Argentina, CITR FM in Vancouver, Canada, New Adventures in Sound Art in Ontario, Canada, and on Radio 1190 in Boulder/Denver, USA.      
https://conduction.wavefarm.org/

1 Shih-Lin Hung & Ju-An Hsieh - L'Intrus (The Intruder) (5:14)
2 JULIA HANADI AL ABED - futur détritique_sidari (15:56)
3 "Kylie" Seunghyun Oh - Lady Lazarus Underwater (8:33)  

1) Shih-Lin Hung & Ju-An Hsieh - L'Intrus (The Intruder)

The work "L'Intrus" (The Intruder) is primarily based on the lines of a graphic score by artist Ju-An Hsieh. Through the electroacoustic modulation of concrete human voices, objects, and environmental sounds by composer Shih-Lin Hung, it weaves a sonic theater of mutual "numbness" and "suffocation" between dreams and reality. Crucially, the sonic experience maintains its profound impact even in the absence of the visual score, as the audio autonomously constructs a complete sensory world. The piece invites the listener to navigate an ever-shifting landscape where the familiar becomes alien, eventually reaching a state of sensory saturation filled with "desolation."    

Shih-Lin Hung is an electroacoustic composer trained in Western classical composition, focusing on musique concrète and the sonic potential of everyday sounds.

Ju-An Hsieh is a visual artist whose work explores ecology, colonial histories, and embodied memory through image-based practices.    

https://soundcloud.com/alfred-pierrot

2) JULIA HANADI AL ABED - futur détritique_sidari

I walk along Sidari beach on the island of Corfu. The Adriatic Sea on my right, and the shift from one language to another and music from the beach bars on my left. The strong contemporary tourist influence is justified by the striking beauty of these landscapes. The marl and sandstone geology is constantly being shaped and deciphered by the winds and the surf into soft and hard stratified reliefs. These landscape features express themselves either from their robustness and fragility. There, gathering the ramparts of posidonia beds and small creatures i can't name, there are also objects that have clearly become marine. But I am quite certain that I can name and identify these : this future detrital geology. I read this land. Then I climb up, and immerse my ears in the underwaterlife of canal d'amour, paying close attention to this new presence, sea wind in my hair.    

Julia Hanadi Al Abed first engaged in acousmatic writing and field recording while walking, improvising, and wandering on the Atlantic coast with a recorder in hand. Since then, tracing voices, making use of environmental recordings and recording various sonic bodies have become the essence of her work. When performing live, she deploys different facets of electronic music practice, mapping various paths for the act of listening while spatial dimensions of sound shapes her work also with installation forms. She received commissions from Radio France, INA-GRM, and plays either in France as abroad.    

https://juliahanadialabed.blogspot.com/
https://juliahanadialabed.bandcamp.com/
https://www.instagram.com/dzoulia/

3) "Kylie" Seunghyun Oh - Lady Lazarus Underwater

Translation is a work of channeling; yet, going through such a process, languages travel over time and space, are distorted, and given rebirth.

I composed a sound piece over my mother’s voice reading her own translation of Sylvia Plath’s poem, “Lady Lazarus”. I also painted a painting, linked to my synesthetic perception of the poem, and connected it as a visual for the piece.

The poet’s poem goes through a death and resurrection while being translated and spoken in my mother’s voice and her mother tongue. I try to listen to the women’s voice from the former generation and the prominent Western culture; distorted, disseminated, repressed, vandalized, and fetishized, yet still powerful. It feels like trying to listen to the voice underwater. When I try to recreate it, I inevitably destroy it. However, something new is born from my hands - again.
    
"Kylie" Seunghyun Oh was born in 1996 in Seoul, South Korea, and is currently based in Cologne, Germany. Born to a heritage of a grandmother who wrote and a mother who translates literature and paints, she defines herself as a multidisciplinary young woman artist, thriving between the mediums such as sound, music, visuals, literature, language, etc. Influenced by the experience of living with synesthesia and also living in different countries, such as the US and Japan, she speaks to the world with her non-linear identity through multimedia and multilingualism.      

https://www.instagram.com/kylieoh.sonic/
https://kylieoh.bandcamp.com/

1 Chloe Turpin - Amygdala hijack (woos woos swallow) (7:52)
2 Randa Megahed – Dabab (10:26)
3 Matheus Montanari - What is left (3:31)
4 Zouning Anne Liao - Dust Storm (5:34)
5 Water Feature - Various Birds - eastern meadow warbler (1:20)

1) Chloe Turpin - Amygdala hijack (woos woos swallow)

Amygdala Hijack (Woos Woos Swallow) is an experimental sound piece and part of Soft Tissue, a series of audio works exploring voice experiments and the emotional charge of speech. Treating language as texture and rhythm, it shifts between spoken and sung fragments, threading the mundane through the lyrical. Weaving freely documentary fragments, found sound and poetic composition, Amygdala Hijack is less a story to follow than a space to inhabit.
     
Chloe Turpin is a London-based sound artist and composer. With a background in fine art and performance, her practice spans music production, radio, performance and documentary with a focus on experimental audio storytelling. Her work explores emotional tension in voice and language, shaping meaning through tone, rhythm, fragmentation and silence. Weaving composed sound, spoken voice and documentary forms, she treats listening as an embodied-affective experience. She holds an MFA from Goldsmiths College and an MA in Audio Storytelling from UCL. Her feature Shorn Women was selected for the Charles Parker Prize and a 2025 Highlight by audio curation platform XMTR.      

https://linktr.ee/chloeonzloh

2) Randa Megahed – Dabab

The title, meaning “fog” in Arabic, refers to the central image guiding the work: a dense, shifting mass that disturbs perception, changes in texture and volume, and allows forms to appear, fade, and disappear. Rooted in a research practice focused on residue: what is peripheral, rejected, or set aside, the piece brings background noise, remnants, and sonic debris to the foreground. Recordings from the artist’s grandmother’s damaged cassette tapes become both an intimate archive and a primary sound material. Through these degraded and unstable sources, Dabab explores loss, erosion, and disappearance, as well as quieter themes such as home, familiarity, memory, and nostalgia. Composed in two movements, the work combines processed field recordings from the artist’s domestic environment with manipulated archival materials, in which repetition, noise, accidents, and the physicality of tape are deliberately emphasized. Through processes of editing, transformation, and reappropriation, Dabab questions how damaged and unwanted sounds.    

Randa Megahed (1997) is a sound and visual artist based between Paris and Cairo. Her practice spans installation, performance, video, image, and sound sculpture, exploring obsolescence, fragility, memory, and the poetic and political potential of residue. She works with degraded images, family archives, repurposed electronics, and unstable sound devices. Megahed holds a Master’s in Musical Creation and Sound Art from Université Gustave Eiffel and INA GRM, a Master in Fine Arts from ESÄ Tourcoing, a Bachelor in Media Design from the German University in Cairo, and a pedagogical diploma (CFPI). Her work has been shown in Berlin, Marseille & Cairo    

https://www.instagram.com/randa.megahed/
 
3) Matheus Montanari - What is left

A binaural composition crafted from the remnants of a rare phenomenon: the cooperative fishing between humans and wild dolphins in Southern Brazil, one of the last examples of such interspecies collaboration globally. In this context, the fishers develop a type of multispecies kinship, where the dolphins are named and considered family members.  The audio consists of underwater recordings and fishermen's accounts of deceased dolphins, processed by noise-reducing Artificial Intelligence. In a critical gesture, the work reverses technological logic: it discards the “clean” human voice and amplifies only the “noise” excluded by the algorithm (animal sounds and technical glitches). The resulting soundscape consists of filtered artifacts poised on the liminal threshold between what is still audible and what has already been lost.    

Matheus Montanari is a Brazilian artist and holds a PhD in Visual Arts from the University of São Paulo. He is a member of the Poéticas Digitais group (USP) and the Multimedia Anthropology Lab at University College London. He was a Leonardo Imagination Fellow and is part of the group documenting the Cooperative Fishing with Dolphins (IPHAN, CANOA-UFSC). His artistic practice investigates the relationship between art, technology, and life in complex ecological contexts through the notion of technobiodiversity.    

Website/social links  https://www.matheusmontanari.com/
https://www.instagram.com/montanarimatheus/

4) Zouning Anne Liao - Dust Storm
  
This fixed media composition is inspired by the chaotic energy and fine particulate detail of a dust storm. Dust storms are violent, mesmerizing phenomena—walls of wind-borne earth that reshape both landscape and perception. This composition seeks to capture the duality of their nature: the immense, chaotic energy they unleash and the microscopic precision of the dust itself, suspended in turbulence. On a metaphorical level, the piece explores erosion—not just of land, but of memory, identity, and form. As with a dust storm, boundaries blur. Sound becomes sediment. Structure is worn away until only traces remain.  

Zouning is a composer and sound designer whose music reflects her fascination with natural phenomena, cycles of life, the materiality of sound, and the evolving relationship between humans, technology, and the environment. Driven by a curiosity about the expressive potential of electronic circuits, she is passionate about DIY electronics, building her own sensor instruments to explore new sonic possibilities shaped by physical gestures.
     
annlzn.com

5) Water Feature - Various Birds - eastern meadow warbler

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.    

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.      

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/

An audio work comprising two intertwined pieces made by writer Maria Fusco, artist-filmmaker Margaret Salmon and composer Annea Lockwood – ‘History of the Present’ & ‘On Fractured Ground.’ 
 'On Fractured Ground', 2023 - sounding the piece walls, composed by Annea Lockwood from field recordings made in 2022 by Pedro Rebelo, Giorgios Varoutsos and Annea Lockwood for History of the Present.
    
‘History of the Present Process Conversation’ - a longitudinal record of process conversations between Maria Fusco, Annea Lockwood and Margaret Salmon during the making of the film History of the Present.

   ‘History of the Present’ (2023) is a feminist experimental opera-film co-directed by Maria Fusco and Margaret Salmon with new music by Annea Lockwood. This intersectional, intergenerational feminist work forefronts working-class women’s voices to ask: who has the right to speak, and in what way? Layering sociological, cultural, and political themes from the recent history of Northern Ireland, the work exercises voice, breath and field-recording composition through a range of film techniques and operatic articulations, to amplify marginalised stories. Made on 35mm and video in the streets of Belfast, the Ulster Museum and the Royal Opera House in London, History of the Present observes how defensive architecture defines movement to enforce intersectional histories and identities within daily experiences in conflict and post-conflict zones on an international level. Artist bios:   Maria Fusco's interdisciplinary work spans the registers of critical, fiction and performance writing; she has authored six books, and written and directed four major performance works. Margaret Salmon is a multidisciplinary artist, solo exhibitions of her work have been held at institutions including Secession, (2023), and DCA (2018/19). Annea Lockwood (b. 1939) is an acclaimed New Zealand-born American composer based in upstate New York. Her lifelong fascination with the visceral effects of sound in our environments and through our bodies—the way sounds unfold and their myriad life spans.     Website/social links   http://mariafusco.net https://www.annealockwood.com https://www.margaretsalmon.info

A compilation of radio art works produced for the 2026 international radio art competition 60 Second Radio in Montréal, Québec, Canada.
 
Host and Producer : Boris Chassagne

For this 12th edition of the contest, 148 works were submitted this year by artists from 33 countries.

In this first of two parts you will hear : Hiperaural-Ricardo de Armas-Argentina, Icarus nears the Sun-Paul Beaudoin-Estonia, Focal Amhain (One Word) An Bata Scóir (The Tally Stick)-Noel Molloy-Ireland, Synthetic Reverie Dream-Sanjay Majumder-USA, Madtone-It is AI but we created it-Pete Polanyk-UK, Kaeru to koe-Omar Reyna-Canada, Synthetic Field Dynamics-Gintas Kraptavicius-Lithuania, Le galet-Bruno Bernard-France, Caronte project-Estel García-Espana, Solaire-Truuts-Kikas-Estonia, Feet-Cristina Marras-Italy, On Analog Tape-Dorota Blaszczak-Poland, Rassurance-Charlotte Biron-Canada, Borborigme-Jonathan Champagne-Canada, We love you from the Moon-Kim Fox-Egypt, Enough-Anton Pickard-Canada, Stay Strong-Jason-Northern Ireland, Dissection-Ludewig Wolfgang-Germany, La machine-Oilvar Premier-France, La chachalaca-Damián Esacarela-Mexico, Descent-Nicola Fumo Frattegiani-Italy, Respirez Train Ghosts-Dee Fry-England, Ode à la mal-aimée-Jean-François Roy-Canada, The International Subway System-Kim Fox-Egypt Remixed, Moshimoshi-Masako Yokouchi-USA-Japan, Micro-soft-word-Gustavo Minian-Argentina, Hej haj-Ida Frisk Carstensen-Dannemark, Mustarastas (Blackbird)-Petri Kuljuntausta-Finland, Heart of Cairo-Haidy Idris-Egypt.

More info on 60secondradio.ca

Artist bio:  
60 Second Radio is a non profit organization promoting radio art everywhere it can. It has since 2014 launched this radio art contest. It strives to survive in a country where radio art is totally absent from the radio airwaves, including in community radio. So it spreads its wings in the USA, Latin America, Europe and Australia with rebroadcasts of the works submitted      

Website/social links  60secondradio.ca

1.5 Degrees of Concern is an international sonic collaboration. Hacked books unlock the transmissions between three women living on separate continents during a global climate crises that lasts 200 years. The stories represent a dissolving past (1953, UK), an urgent present, (2053, US) and a speculative future (2153, AUS). Examining the layered transmissions and abandoned traces, we invite you to consider possibilities for an alternative utopian future and first steps to building it.

1953
The story is set in Suffolk, UK. It reflects on the past, focusing on the 1953 North Sea floods. The greatest natural disaster in England since WW2, the sea level rose up to five metres; 307 lives were lost in a storm surge affecting 500 miles of the East Anglian coast. Voices of survivors are mingled with those of local people who have recently experienced the increasingly frequent local flooding. Marking generations with loss, the flood permanently changed the physical landscape, forming new creeks and lagoons. Scientists predict that sea level rise will alter the East Anglian coastline much more radically over the next fifty to a hundred years unless mitigated.

2053
Set in Southern California in 2053, an isolated woman composes letters to her friends in the form of underground transmissions about the daily struggles of living in an environment scourged by human-caused environmental disasters. Seeking connection, she searches the airwaves for a recipe for water, news about global collapse, small hints of regeneration. Already plagued by drought and fires in 2021, California’s ongoing severe drought punctuated by heavy rains caused by climate change is an unremitting reality. 2040 is considered the year of the global tipping point, when 1.5 C (2.7 F) of global heating will bring irreversible changes in global ecosystems, food networks, extinctions, air quality, floods and droughts. The letters convey a life just beyond the tipping point, with the last one implying a farewell along with a plea for collective vibrations for healing.

2153
This story builds on a speculative future. In an iced-over desert in Australia a lone figure walks, contemplating their immediate present, impermanence and loss. Thundereggs, formed over millions of years, and the feathers of a yellow-tailed black cockatoo draw a connection between deep time and the fragility of life. The changes we have imposed on the delicate balance of nature will be impacting the world for centuries, perhaps millenia, to come. Our self-interested actions are not what they seem. What we wish for might be self-soothing illusions. What kind of world do we—do you— want to live in? What will we tell our future selves? As the earth hums, rebuilding itself, what will be left behind?

AUDIO SOURCES
BBC, The 1953 East Coast Floods – Facts & Figures (2014, September 24),
https://www.bbc.co.uk/suffolk/dont_miss/floods/facts_figs/1953_facts.shtml
Documentary 1953 Floods, Savage Planet documentary, uploaded 2017 to
https://www.youtube.com/watch?v=mXL_FK8JpGA
Essex Records Office Sound and Video Archive:
- BBC Essex ‘Tide on Tide’ Television programme broadcast 1988
- 1953 documentary about the floods at Canvey Island, Essex Educational Video Unit
- Oral history recordings – Peggy Champion
Original Texts by Kristine Diekman, Liz Waugh McManus and Lisa Mansfield
Voice recordings by Kristine Diekman, Liz Waugh MacManus, Vicky and Mike Craven-Smith and Finley Stapleton-Hamilton
 
Biography:


Bellwether Collective -
Kristine Diekman
Lisa Mansfield
Liz Waugh McManus

Bellwether is an art collective creating participatory worlds through sound, touch, data, and sensory experience. Our collaborative projects bring together interactive media, glass, storytelling, environmental research, astronomy, and embodied interaction to explore new ways of sensing and sharing knowledge.

Website/social links   
https://www.kristinediekman.net/installations#/15-degrees-of-concern
https://www.lizwaughmcmanus.co.uk/work/interactive

Taking the lullaby or cradle song as a point of departure, ‘aariraro’ was made in response to Singh's experience of being eight months pregnant at the time of recording. Through improvisation, she draws together a range of vocal influences while responding to the energetic presence of the baby in utero. The work borrows common vocables found in lullabies (lōris) across Indian languages, with the Tamil sounds aararo and aariraro forming the root of the improvisation. These converge with Singh's experience of icaros used in Amazonian plant medicine ceremonies, alongside improvisational and expanded vocal techniques, including mumble rap, protolanguage, babbling, nonsense vocalisation, and other cross-cultural vocal practices. ‘aariraro’ unfolds as a non-semantic, repetitive field of vowels, consonants, hums, breath, and silence—a dense, multivalent sonic landscape that moves between tenderness and intensity. Bio Dr Nicola Singh is a performance artist, experimental vocalist, and educator based between the UK and Tamil Nadu, India. She works across performance, pedagogy, exhibitions, sound works, film, and text. Her research focuses on improvisatory vocal forms, cross-cultural ritual vocal practices, embodied ways of knowing and communicating, and the limits of language. Singh is the current Adrian Piper Research Fellow (2025–2026). Recent projects include a solo exhibition at Cubitt Gallery, London (2025), a group exhibition at Listen Gallery, Glasgow (2025), performances at Fierce Festival, Leeds (2025), and a residency at SPACE Studio, Gujarat (2024). She holds a practice-led PhD in Performance Writing from Northumbria University (2017), an MA in Curating Performance from the University of Sunderland (2011), and a BA (Hons) from Dartington College of Arts (2010). She has undertaken residencies at Hospitalfield and Porthmeor Studios, and received awards including the UK/Korea British Council programme and the 3-Phase Artist Award. Singh’s work has been acquired by the Government Art Collection (2021).

La Font Antiga documents Crevillente’s historical hydraulic system, which was inherited from the Andalusian period. It focuses on the qanawaat, underground aqueducts that carried water from mountain springs to the town center for centuries. However, in the 1970s, the industrial extraction of water from the northern part of the aquifer drastically reduced the availability of this resource. This caused the gradual deterioration of galleries, irrigation ditches, aqueducts, and mills. This transformation affected not only the landscape and ecosystem but also the collective memory of the community that depended on these infrastructures. Through field recordings, sound maps, acoustic analysis, and interviews, the project reconstructs and contextualizes the evolution, disappearance, and social impact of this historical infrastructure. The project addresses how water and its sounds constitute a tangible and intangible heritage that connects memory, territory, and community. I propose a radio narrated version of this sound piece, similar to the video attached.    

Artist bio:  
sonomayrit is a radio producer and sonic researcher focused on the interconnections of the Mediterranean region. His collaborative projects explore the parallels between tradition, sonic experimentation and socio-cultural narratives.

Over the past six years he has worked with artists, radio stations and cultural institutions, curating and producing radio shows, live performances, listening sessions, installations and more.

Website/social links  https://sonomayrit.xyz/

1) iT - Irena Tomažin - nekaj v teb (5:15)
2) Dosimat - Old Boat Of Caol (1:48)
3) DSPSSSSD - Exit Wounds (3:45)

1) iT - Irena Tomažin - nekaj v teb
 
From the album Crying Games.
 
2) Dosimat - Old Boat Of Caol

Bio - A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.
 
3) DSPSSSSD - Exit Wounds 

From the album 'Offcuts From Reality'

DSPSSSSD (dispossessed) is the electronic concept of artist Aniruddha Das who creates tense, agitated soundscapes using layers of sampled noise. The idea emerged out of live sessions of his ‘mutant dancehallʼ project “Dhangsha” where he often plays non-metric passages to transition between his beat orientated tracks.

Using a piece of kit called the “Microgranny,” he explores the nether regions of sound: the cracks and crevasses that exist in a sample waveform. When he detunes an already lo-fi fragment, a foreboding landscape opens up, often with the release of significant artefacts. Real-time adjustment of the parameters - bit-crushing and granular shifting - creates a further sense of disorder.

For Aniruddha, the studio door always remains open to the world. “Offcuts From Reality” is a frequency analysis of the emotional and political state of Britain in the early 2020s. The insistent geiger-like glitch that permeates the set represents unprecedented levels of social anxiety and frustration, the brooding bass an all pervading sense of dread and the crush distortion spontaneous outbursts of anger and animosity.

Ancient Celts imagined sound bouncing off a cliff face or cavern wall as a child birthed by the stone. In Scottish Gaelic the word for “Echo” is  “Mac-Talla” — "The Son of the Rock”. It’s an elemental spirit, the living voice of the wilderness connected to the human world. When a bard played a lament, the landscape was believed to answer back, as if the land itself were moved to grief, memory, and participation.

This piece was recorded inside Cathedral Cave on the Isle of Eigg, a vast volcanic sea cave beneath the pitchstone ridge of An Sgùrr. Known in Gaelic as Uamh na Chràbhaidh (“Cave of Devotion”), this resonant basalt chamber has long been associated with ritual gathering.

Within this resonant space, a shruti box produces a slow, steady drone: By pumping air through the bellows of the instrument, the vibrating reeds awaken the cave’s own acoustic body. The sound is shaped by the cave as its reflections and resonances fold back into the performance, transforming it into a dialogue with stone.

The recording is then turned back on itself. A secondary cave-captured drone becomes an impulse response, turning the cavern’s acoustic fingerprint into a sonic filter. Processed further through tape, the piece accumulates layers of acoustic memory, spectral traces in which the cave seems to sing its own memory.

Diaphane, from the Greek diaphanēs (“that which allows something to pass through”), understands the cave as a medium. In myth, caves were liminal spaces where the boundaries between human and divine, solid and fluid, visible and invisible became permeable. Abodes of nymphs, gods, and dangerous creatures, where ancestors heard the voices of their deities in the resonant acoustics of the stone. The drone becomes a conduit between the human and the more-than-human, transforming the cave into an active participant in dialogue. It is a (re)connection with a spatial artefact of geological history that invites us to listen deeply to the stone into a state of transformation and metamorphosis.
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

Matt Robin is a sound artist and composer working with electronics, field recordings, and percussion. His practice, both solo and collaborative, centers on exploring complexity through minimal means, using restraint to reveal sonic detail. Guided by curiosity, he explores the textures and tonal possibilities of acoustic and electronic tools through close listening and experimentation.

He is a member of NEY, a Glasgow-based trio whose work combines voice, (electro)acoustic instruments, electronics, field recordings, and live processing. NEY has released music on the label Somewhere Press, performed in Glasgow, London, and Berlin, undertaken a residency at Grabowsee in Germany, and collaborated with Colombian-born, Miami-based experimental sound artist Doris Dana.

Matt currently collaborates with artist Shola von Reinhold, weaving harp, percussion, electronics and voice. Their work explores delicate threads and sudden ruptures, where chaos coils around fragility and entanglement becomes both method and outcome.

Voyce Walkr by Machine Listening is a reimagining of Russel Hoban’s post-apocalyptic 1980 novel Riddley Walker, updated, reworked, and distilled in response to our technological present. The work recasts Hoban’s nuclear devastation as a collapse brought on by carbon capitalism and techno-solutionism. The environment is ravaged, language has warped and degraded, and computing and other advanced technologies have vanished. Society is now organised around a myth about the causes of the collapse – The User Story – broadcast daily over a rudimentary radio network made from salvaged parts. This is the ‘voyce walking’ of the work’s title. The piece evokes radio’s various golden age(s) at the same time as the story imagines radio as a crude post-apocalyptic medium, far in the future. Time has been deliberately scrambled. Cloned children tell of coming ‘infomayshun barms’ on vintage radios. Old stories of dystopian futures tuned in to the anxieties of the present.      

Artist bio:  
Machine Listening is a platform for collaborative research and artistic experimentation, founded in 2020 by Sean Dockray, James Parker, and Joel Stern in order to subject automated systems to political and aesthetic scrutiny. The collective works across writing, installation, performance, music, software, curation, pedagogy, and radio. Our work has been presented at major institutions including the Australian Centre for Contemporary Art, Cricoteka Tadeusz Kantor Museum (Kraków), Warsaw Museum of Modern Art, Galerie Nord (Berlin), the National Communication Museum, RMIT Design Hub, and MUMA. And we have performed at Unsound Festival, Soft Centre, and Melbourne Recital Centre, among others.  
   
https://machinelistening.exposed/

1 Boris Allenou - Acous-tick (20:00)
2 John Roach - Northfork Wind Sketch 1 - Sail (17:50)        

1) Boris Allenou - Acous-tick

In 2024–2025, I received a Fellowship at the University of Surrey, where I collaborated with the brilliant virologiste who apens to be my life partner Dr Marine Petit. Together we've developed an unusual project: turning climate data into sound.
We created a musical piece that captures how global warming affects UK ticks. Using mathematical models and field recordings, I composed abstract music representing a tick's lifecycle. By adjusting environmental parameters like temperature and humidity, this composition transforms, creating a sonic interpretation of climate change's impact on tick populations.
It's an experiment in making invisible ecological shifts audible. The work sits somewhere between art and science, offering a listening experience that's both musical and data-driven: a way to feel, not just understand, how our warming world is reshaping nature around us.
https://www.ias.surrey.ac.uk/fellows/boris-allenou/    

I'm a sound artist exploring how deep listening and sonic ecology shift perception—how connecting with soundscapes reshapes our awareness of place, community, and environment. My practice treats sound not just as medium, but as ecosystem: dynamic, relational, connecting people to each other and the world they inhabit.
At heart, I believe sound creation and listening can be active, political, and gentle. A refusal to rush. A refusal to consume. A refusal to be reduced to signal. My work gestures toward subtle resistance: attention as defiance, listening as autonomy, presence as freedom.    

https://borisallenou.com/acoustick/
https://www.instagram.com/borisallenou/
https://linktr.ee/borisallenou

2) John Roach - Northfork Wind Sketch 1 - Sail      

 “Sail” is a work in progress and part of an ongoing series about wind. Voices in order of appearance:
Arden Scott, Thomas Halcinszcy, Brian Tuthill, Carole Monsell, Christopher Scott
All other sounds were derived, in one way or another, by the wind.
“Sail” was created during the Uncommon Arts Residency at the Sound View in January 2026 in Greenport, NY on the North Fork of Long Island.
     
John Roach is an interdisciplinary artist with a particular interest in sound and multisensory experience and he builds environments that blur the line between what we see and what we hear. His sound compositions often focus on themes related to ecological systems, biodiversity and climate and exist in a space between electroacoustic music, documentary and experimental radio art. These pieces, shaped by a playful embrace with uncertainty, bring together his field recording practice, instrumental passages, and conversations with artists, scientists, writers, historians and others.    

https://johnroach.net/
https://www.instagram.com/johnroachart

1 Ali Rennie - Station 44 (12:52)  
2 K Angel - Untitled until we get to the very end and I know if you're still with me (3:46) 
3 Marjorie Van Halteren - What I Found on Pluto (3:38)      
4 Paul Collins - Radio Spots - Quel horaire (1:00)

1) Ali Rennie - Station 44
    
"Station 44" is a soundscape composition that uses a range of techniques for electromagnetic sonification. Its focus is the transmitting station on the topographical elevation of Mormond Hill in the furthest extremities of North East Scotland. Mormond Hill is the site of assorted communications masts and is the historical location of a Cold War facility known as Station 44. "Station 44" incorporates the themes of the Cold War while speculating on the secret operations of the British and American military in relation to unexplained phenomena in the North East region. It is a part-factual, part-fictional soundscape depiction of the secret history of the Mormond Hill facility, using several electromagnetic sonification techniques to convey a full range of acoustic paradigms, namely: the hauntological Cold War atmosphere of the site; the tapering metallic lacework of the phantasmagoric "antenna farm"; and the unofficial legacies of UFO activity in the North East region.    

Ali Rennie is a sound artist and composer from Aberdeenshire, Scotland, who specialises in creating works derived from paranormal phenomena and different sources of electromagnetic activity. Rennie has an MSc in Sound Shaping and Audiovisual Practice from the University of Glasgow and has a PhD in sonic arts from the University of Aberdeen. He has released several albums under the name of Ruptured World with the cinematic dark ambient record label Cryo Chamber and is also known as a writer of weird fiction, publishing the novel "BleakWarrior" in 2016 and the fiction collection "Hardweird" in 2024.    

dralirennie.com
rupturedworld.com

2) K Angel - Untitled until we get to the very end and I know if you're still with me  

The warp of a wormhole. Echoes, distorted whispers, hopes, desires, warnings, myths as totems, memories. Andor’s Rebellion. Good One. “Running”. Doctor Who. A storm by the Cornish coast. “Harbour (Song for Elizabeth)”. Doc Emmett Brown. A walk with an old friend. The Singing Towers. The tide going out. The pages of a notebook filled with words that couldn’t predict or parse an ending. The wind. Landing. In the same place but in a different time. Two tracks diverge in a yellow wood. An attempt to replay, to foreplay, to start over over over over…

Cutting up field recordings, samples, and the artist's own voice, 'Untitled until we get to the very end and I know if you're still with me' is an audio collage transformation of a poem by the same name in K Angel's collection, Another double text.    

K Angel is a writer, performer, and researcher from the American Midwest, currently based in London. Their projects across form and genre play with myth, consent, chosen family, and metamorphosis interruptus. Recent projects include The Road Again: a post-apocalyptic queer cowboy musical; Clusterfluff, an immersive circus exploration of queer nightlife history and lineages across the UK; Going Going, a collaborative zine designed around urgency, necessity, and doing the thing together; and the poetry collection Another double text, forthcoming from kith books.      

https://www.someimpropernoun.com/
https://www.instagram.com/someimpropernoun/

3) Marjorie Van Halteren - What I Found on Pluto    

A very short piece in response to a prompt from the Junto project, a group based on Soundcloud.com, led by Marc Weidenbaum in San Francisco since 2012 - where musicians respond to weekly, fast-turnaround assignments to compose, record, and share new music. The idea is to use restraints as a springboard for creativity. This one was:  0671: In the Air Tonight. The Assignment: Make an atmosphere of your own. Find out more on the weekly Disquiet Junto project and how to participate at https://disquiet.com.    

Marjorie Van Halteren was born in Detroit, Michigan. She lived in New York for 20 years, where she was a radio producer. She shared in three Peabody Awards for her work in creative documentary and live radio. Her work has also appeared on Radiophrenia, BBC Radio 3 and 4, WDR, Radio Netherlands, NPR and Studio 360 in the US. She has lived in the North of France since 1992, and is a member of the Muzzix collective in Lille, France. She records, composes, sings, and plays electronic instruments, solo, as well as in collaboration with other musicians.    

http://www.electroacousticalpoeticalsociety.com

4) Paul Collins - Radio Spots - Quel horaire

Radio Spots is a series of 17 one-minute radio-spots that use the radio itself as the primary source material. Random FM stations, in both Canada and France, were recorded and then manipulated using a variety of experimental methods and techniques. These one minute radio-spots are not designed to be played as a continous piece, but as individual elements, punctuating a day's programming or broadcast. A minute here, a minute there.      

Paul Collins is a Toronto-born, Paris-based visual artist and musician. His paintings are represented by General Hardware Contemporary, Toronto. His prints are published by Michael Woolworth Publications, Paris. His most recent recording, Bez Vremena (2025), with Quentin Rollet and Marija Kovacevic, is now out on Astre d'Or Records. Collins is an active member of the Paris experimental music scene, playing frequently in such venues as Les Instants Chavirés, La Guillontine, Le Non_Jazz, Le Chair de Poule and Le Peine Perdue. He was a member of the Glenn Branca Orchestra.      

https://www.instagram.com/paul___collins/
https://soundcloud.com/paul-collins
https://www.generalhardware.ca/paul-collins
https://www.michaelwoolworth.com/paul-collins/
https://badge3.bandcamp.com
https://www.bisou-records.com/produit/paul-collins-patrick-muller-thierry-muller-quentin-rollet-correspondant-a-une-lettre/

Friar Bacon is trying to make a statue speak. Alone with his books, machines and a patchy understanding of the human anatomy, he sets out on an arduous quest to synthesise the human voice. As he traverses the deep history of speech science, his experiments grow unstable, feverish and strange.

Points of Articulation is an experimental radio drama exploring the politics and poetics of synthesised speech. Based on an Elizabethan stage play about a scholar who makes a pact with the devil to make a brass statue speak, the piece explores a history of speaking machines and our changing attitudes towards them.

Artist bio:  
Seth Scott is a sound designer and composer who uses programming, writing, audio recording, and musical performance to explore the manifold relationships between sound and technology. His work takes a range of forms, including fixed media and concert music, sound installations, interactive mobile apps and performances. Seth’s work has been exhibited across the UK in venues including the Barbican Centre, Serpentine Gallery, Bloomberg Space, and BBC Maida Vale. He works regularly with visual and mixed-media artists, producing sound and music for films and installations which have been shown in galleries and film festivals worldwide.    

Website/social links:  
http://www.sethscott.co.uk

"Earthworks" by Nathan Davis investigates our relationship with our environment, the geologic time cycle of building materials, and the waste-stream of construction: a geological soundscape created from recordings of raw materials as found in nature, during the violence of their extraction, as construction materials, and as fashioned into instruments. It includes re-narration by Sylvia Milo of text from DIY instructional videos, revealing unintended references to environmental damage.

This immersive recording (stereo, surround, or binaural) captures an ideal installation of the piece played through transducers attached to off-the-shelf panels made from these same materials — plywood, foam insulation, polycarbonate, acoustic tile, gravel, and galvanized steel — which become speakers that give each channel the distinct coloration of its substance. All sonic materials are fragmented and spatialized, centering the listener in this constructed landscape.

“Earthworks” consists of seven continuous movements, but any may be extracted to play alone or in combination.    

Artist bio:  
Nathan Davis "writes music that deals deftly and poetically with timbre and sonority" (NY Times). Working across concert pieces, sound installations, and music for theater and dance, he has received premieres and commissions at Lincoln Center, the Park Avenue Armory, Guggenheim Museum, Donaueschinger Musiktage, Acht Brücken Köln, Aspekte Salzburg, Helsinki Musica Nova, Darmstadt, and Audio Art Krakow.

Albums of his music released on Infrequent Seams, Sono Luminus, Starkland, Tundra, New Focus, and Bridge. Fellowships at the Bogliasco Foundation, Camargo Foundation, GMEM in Marseille, New Music USA, NYSCA, Meet The Composer, Fromm Foundation, Jerome Foundation, American Music Center, MATA, and ASCAP.    

Website/social links   
https://www.nathandavis.com
https://www.facebook.com/NathanDavisComposer
https://www.instagram.com/nathandavis_composer

Glossolalia is a radio show as literary and sonic laboratory; each episode explores a microcosm. In my work, I move through layered narratives and porous sonic worlds of references. The show translates that approach to radio, bringing voice forward as both agency and material, letting language drift between sense and sound so writing is met through listening. Episodes start from a defined literary world and build their own atmosphere and internal logic, drawing on practices of interiority and duration, from Clarice Lispector to Luc Ferrari. I imagine beginning with a three-chapter arc. The first chapter pair is House of Day, House of Night by Olga Tokarczuk and Effi Briest by Theodor Fontane, treated as environments rather than narratives. Each program develops through fragments, misreadings, sonic translations, and shifts in voice, moving between language, sound, and silence. Glossolalia is an invitation, a space where literature, sound, and listening destabilize one another.    

Artist bio:  
Zeynep Toraman is a composer and writer based in Berlin. Her work moves between composition, text, and sound, unfolding layered narratives, material histories, and intimate forms of listening. Drawing on literature, philosophy, and autobiography, she treats voice and memory as compositional material. Her music has been presented internationally and developed with many ensembles and performers. She has released music with labels including Obscure & Terrible, Sawyer Editions, and Superpang. She holds a PhD in Music Composition from Harvard University and has taught at the Institute for Electronic Music and Acoustics in Graz.    

Website/social links   
https://zeyneptoraman.com/
https://zeyneptoraman.bandcamp.com/
https://www.instagram.com/tora_zeynep/
https://soundcloud.com/zeyneptora

1 LUIGI MORLEO - ART NO WAR 7 (18:16)    
2 Isabel Val Sánchez and Gigi Morralla - Antenna for Microwaves (16:56)    

1) LUIGI MORLEO - ART NO WAR 7

ART NO WAR 7 by Luigi Morleo - on text by Teresa Albanese
This work give four keys of lectures of the narration: the first narration is the
musical accents of the words; the second is the sound alone of the musical line of
the words; third narration is the melody of the words; fourth narration is the
armonic region of the words. The complete work open the musical sound of the
words.    

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. The focus of his projects is on the problems of society and the various rights of humanity. Many of his works have been played by the Maracaibo Symphony Orchestra- Venezuela, Rome and the Lazio Orchestra-ITALY, Clermont-Ferrand Conservatoire Orchestre- France, Denver Young Artists Orchestra-USA, Ensemble for New Music of National Music Academy of Ukraine,    

https://www.instagram.com/luigimorleomusic/

2) Isabel Val Sánchez and Gigi Morralla - Antenna for Microwaves  

In Antenna for microwaves, we take the use of the semiotics of the kitchen as a living and working space for recording, listening and transcendence. Microwaves and DYI/DIWO antennas enter into conversation and become synthesizers that are activated only through the performativity of the body that initiates the piece. Thus, the domestic space is once again vindicated as a space for collectivity and listening while at the same time it becomes a portal to imagine everything that humanly escapes from our senses but permeates us constantly in infinite ways of forms and spectrums.

This recorded performance draws bridges between the domestic and the divine. We invoke disembodied presences through the manipulation of electromagnetic waves that travel through the ether. Thus, we reclaim the esoteric character of electricity by transforming household appliances into ritualistic elements that invite us to rethink listening as an experience of collective transcendence.    

Isabel Val Sánchez. Artist and cultural organizer with a special interest in everything that amplifies human sensorial and affective abilities. She is also a founder member of The Guild of Hydrosemiosis and works with Mireia Molina Costa as Cossos d’Aigua (Bodies of Water), researching sound and hydrofeminism.

Gigi Morralla. DJ, music producer, cultural manager. In her artistic practice, she claims morralla (junk) as what has been overlooked from the margins, and from there, it takes stances. She is a member of the electroclash band Resina and the artistic collective FemArt, where she blends activism and artistic critique with cultural agitation.
     
https://www.isabelval.com/
https://www.instagram.com/isabel_val/
https://isabelvalsnchez.bandcamp.com/
https://gigimorralla.media/
https://www.instagram.com/gigi.morralla/

3 Matt Warren - Portentous Audio (by design)  (10:00)
4 Jamie Lee - Tusheti Loops (4:38)    
5 rikardfvs - the strange little train at Charles de Gaulle-airport (radiophrenia-2026-version) (9:31)

3) Matt Warren - Portentous Audio (by design)
   
This abstract radio work presents a narrative of portent.
The work combines cinematic sound design, electroacoustics, field recordings and a minimal narration that conflates performed dialogue and descriptive texts, exploring the liminal space between diegetic and non-diegetic sound.
We hear warning sounds that indicate something is coming. What is coming is not specifically revealed, but left open for interpretation. With the many contemporary conflicts and issues around invasion, security and threats against sovereignty, this is an abstracted warning to listen (and watch and read about) the warning signs around us.

Matt Warren is an Australian electronic media artist, musician, radio show producer, curator, writer and educator, based in nipaluna/Hobart, lutruwita/Tasmania.
His art practice encompasses immersive electronic installation, single channel video and sound works. The work investigates memory, transcendence, liminal spaces and suspension of disbelief. Warren considers his art and installation practice as part of a greater context aligned to psychedelia, digital abstraction and hauntology.
His music and sound practice has a basis in both composition and improvisation. He performs and records electro-acoustic and drone works, solo under his own name and collaborates with others under a number of monikers.
     
https://www.mattwarrenartist.com
Bandcamp: https://roomofsilencerecords.bandcamp.com
Facebook: https://www.facebook.com/mattwarrenartist
Instagram: http://instagram.com/mattdwarren

4) Jamie Lee - Tusheti Loops  
 
Tusheti Loops is a sound piece made during a workshop residency in the Tusheti region of Georgia. Crossing into the Electric Magnetic is a 10 day workshop in experimental electronic music practice taking place at the AqTushetii Artist Residency, Omalo, Republic of Georgia. Featuring field recordings made during trips to nearby sites and local festivals, the composition responds to the natural rhythms of the remote landscape as well as the socio-political context of the region, its cultural heritage and folk traditions.    
 
Jamie Lee (b. Bristol; based in South London) works across sound, moving image, photography, installation and printmaking. His hybrid practice is rooted in the history, context and design details of various sites and questions how places are constructed by the interaction of found objects, bodies and the architecture that contains them. Past projects involve recording the results of performances with cymbals on cliffs along the South Coast of the UK, where huge, monolithic concrete forms known colloquially as ‘Sound Mirrors’ represent the leaps in technological advancement during wartime. His music is released on record label Mortality Tables (2025).    
jamieleeartist.com
 
https://www.instagram.com/jamie_leeartist/

5) rikardfvs - the strange little train at Charles de Gaulle-airport (radiophrenia-2026-version)  
 
The piece "the strange little train at Charles de Gaulle Airport" was originally released on a Sounds for The Soul field recording compilation during 2025. This is a new version in which the composer have tried to enhance the piece's dreamlike and magic properties.
The audio is a field recording recorded during a trip with the small CDGVAL shuttle train that runs between the terminals at the Charles de Gaulle airport. It is a small custom-made train with no seats in which passengers and their bags stand close together.
The piece investigates traveling and very short and close meetings between people from all over the world.
The buzzing of the small electric train mixes with important messages regarding travel and how to behave at an airport and with the happy or nervous or angry voices of the passengers.
     
Rikard Friberg von Sydow, or "rikardfvs," which is the handle he uses when creating music, is a composer and researcher from Uppsala, Sweden. His music moves between ambient landscapes and pulsating electronics. He likes minor keys, raw textures, and dissonance and is in constant movement between beauty and destruction.
rikardfvs has released several works on different netlabels during recent years. Every second week he records the radio show “Nya Ljud” for Camp Radio. In his research, he has, among many other things, published articles on the Electronic Voice Phenomenon.
     
https://arkivfeber.se/
https://soundcloud.com/rikardfvs
bsky: https://bsky.app/profile/rikardfvs.bsky.social

In Water Tekno zozoTransistor pokes holes into water sachets that drip into buckets with contact microphones on them. The emerging polyrhythms continuously morph in rhythm and sound: once set in motion, the sound installation is a perpetuum mobile which over time changes due to loss of water pressure in the bags, change of hole size and increasing water quantity in the buckets. In the performance, zozoTransistor is in conversation with this soundscape through distortion, dance, chanting, touching and turning lights on and off. What you hear here is an audio documentation of these living incantations.

Water Tekno has developed between Switzerland and Ghana and is an ongoing project. This audio piece comes after a series of live performances in Bern and Kumasi. Next will be the Water Tekno album release on Prefer music and Water Tekno as a durational performance of one month.    

Artist bio:  
zozoTransistor is interested in how magic is made and practices an art that reveals the crafting behind states of ecstasy and trance, rather than hiding it. In Water Tekno, z interacts with the substance of morphing polyrhythms as if it were a code that, through relating with it in this intense way, can give access to multi-sensorial orchestration as an epistemology.    

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

1)  Elsa Justel -  Du Libe Tu (2:14)
2) Dosimat - Saturday Afternoon (3:20)
3) DSPSSSSD - The Stench Of Entitlement (3:24) 
 
1)  Elsa Justel -  Du Libe Tu
 
2) Dosimat - Saturday Afternoon

Bio - A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.


3) DSPSSSSD - The Stench Of Entitlement 

From the album 'Offcuts From Reality'

DSPSSSSD (dispossessed) is the electronic concept of artist Aniruddha Das who creates tense, agitated soundscapes using layers of sampled noise. The idea emerged out of live sessions of his ‘mutant dancehallʼ project “Dhangsha” where he often plays non-metric passages to transition between his beat orientated tracks.

Using a piece of kit called the “Microgranny,” he explores the nether regions of sound: the cracks and crevasses that exist in a sample waveform. When he detunes an already lo-fi fragment, a foreboding landscape opens up, often with the release of significant artefacts. Real-time adjustment of the parameters - bit-crushing and granular shifting - creates a further sense of disorder.

For Aniruddha, the studio door always remains open to the world. “Offcuts From Reality” is a frequency analysis of the emotional and political state of Britain in the early 2020s. The insistent geiger-like glitch that permeates the set represents unprecedented levels of social anxiety and frustration, the brooding bass an all pervading sense of dread and the crush distortion spontaneous outbursts of anger and animosity.

In my work I am trying over and over again to listen and to hear different and not so obvious landscapes of human voice. Landscapes of voices that are not so audible in the foreground of our ability to listen but are more present as some kind of shadows - it's not only that we try to hide those voices (un)consciously, but more as if they are so present that we don't perceive them anymore. Or as if they would be so obvious to our everyday sound landscapes, that we don’t hear them… could be also as if they don’t deserve our attention anymore. On the other hand when speaking of voice we always seem to think of the most obvious dimension - the audio dimension… In a Slovene language there exists a word “tišina” that means silence, but there is also a word “molk” that at least English translation doesn’t have an equal word for it - the closest would be “remaining silent”. In German there is die Stille for silence and  das Schweigen for “molk”. But in French, Spanish, Italian language the distinction between the silence and molk / das Scweigen doesn’t exist.And “molk” / “das Schweigen” belong to voice - so there is a voice or words to say or need to explain something, but for various reasons one “remains silent”, because one doesn’t find the right words, because it is too hard or too emotional or too overwhelming to be even able to speak, or because one doesn’t want to speak up… So I find “molk” as a state of a valid voice presence, that doesn’t have its existence in audio reality, but is still very much present. An absence that is present - one can witness it in the gestures, body positions, face expressions - it’s obvious, but just not through audio dimension.  
So how to acknowledge the absence in the audio work? the absence that is not just silence but also "molk" as remaining silent? Seems like somehow the dis-placed task or need … even incorrect assignment.

I do hear a lot of “remaining silent” in my voice… maybe it is a certain colour of the voice or a certain dynamic or motion in the voice… However at the moment - this moment does last for quite some time now - I am obsessed with  voice that remains silent to a certain extent.
So this work: “a voice as a shadow, a voice as a memory” is somehow made from three parts:
Voice when I was old and cold
Voice when I am wandering and questioning
Voice when I will be as an absence of my self projecting myself

Nothing was recorded in a studio environment, but in my everyday living places like my child's room, kitchen, hall or bathroom…with everyday background noise.
All voices are mine.

The final mastering was done by my long term friend and co-worker Aldo Invančič.
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

Irena Z. Tomažin is a dancer, choreographer, performer, vocalist, singer and improviser, strongly present on the local and international scene.

As a musician she made her name with solo project iT, project for voice and dictaphones, where she uses forms of songs, sound poetry, spoken word, theatre, text and performance. The project took her on the path of deconstruction of voice which she deepens as an improviser, solo artist or in various groups and collaborations, where she went further with exploration of sound and noise of the voice, textures and in-between spaces of voice, body and bodily mechanics.

She performs solo or in collaborations with among others: Tomaž Grom, Lee Patterson, Xavier Charles, Christof Kurzmann, Jonas Kocher, Gaudenz Badrutt, Šalter Ensemble, Tim Blechmann, Michael Zerang, Liz Allbee, Alessandra Eramo, Ilia Belorukov, Okkyung Lee, Maja Osojnik, Christian Kesten, Ina Puntar, Dré Hočevar, Matej Bonin and others.

https://it-irenatomazin.bandcamp.com/album/crying-games
https://www.instagram.com/IRENAZTOMAZIN/

De/Cierto is a sound essay investigating the construction of the "desert" as a political operation of emptying. The piece traces a genealogy of the void, linking the Argentine State's 1878 foundational genocide ("Conquest of the Desert") with contemporary logics of mineral extractivism.

The project is rooted in media archaeology: it employs "tuning stones" (quartz and lithium) based on galena radio principles to capture the radio frequency spectrum without external power sources. This technique enables a physical interaction with territorial vibration and the acoustics of the air. The work is structured as a live non-fiction sound piece, processing and remixing records from the National General Archive alongside field recordings and choral testimonies. De/Cierto functions as a sonic archaeology that intervenes in the frequencies of historically silenced territories, exploring the radio medium as a site of tension between the documentary archive and geological materiality.    

Artist bios:  
 
Maru Waldhüter is a sociologist and sound producer focused on documentary narratives and social research. She has produced non-fiction series for the Rosa Luxemburg Foundation and CELS, and was a producer at FM La Tribu for eight years. Her work explores the intersection of regional politics and sound memory.

MINGUS / IDOSÔIDOS is a sound artist and researcher specializing in field recordings and media archaeology. He co-directs REMEZCLATUCIUDAD and has documented oralities across Ibero-America for platforms like Radio 3 (Spain) and Radio Tsonami (Chile). His practice investigates the auditory perception of territories and the materiality of archives.    

Website/social links   
https://linktr.ee/maru.dobleu?utm_source=ig&utm_medium=social&utm_content=link_in_bio
https://linktr.ee/idosoidos?utm_source=ig&utm_medium=social&utm_content=link_in_bio

https://www.instagram.com/marudobleu/
https://www.instagram.com/mmmmiiiinnnngggguuuussss/

Lydia Davies -  By end of play

In this 25-minute live vocal performance, a boss becomes the bigger adult and inadvertently traps himself in the kitchen. Part fable, part vocal improvisation, this tragicomic cautionary tale navigates the mishandling of power, control, language, and a loaf of bread. As semantics get stripped to syllabics, a drumbeat rises, and lyrics fracture into half-plea, half-refrain.

‘By end of play’ touches on familial love co-opted as workplace rhetoric, bread's symbolism, and the 20th-century carnival freak show. As care curdles with control, authority gets blown out of proportion and falls into farce.

Bio:
Lydia Davies is an artist and writer, working across performance, sound, moving image, painting and bookmaking. Lydia is preoccupied with interpersonal dynamics, bodily gestures, and the shifting registers of voice and narration. Her work draws attention to the ways in which selves are both sustained and undone through their relations.

She has recently shared live performances at Spike Island (Bristol), Fruitmarket (Edinburgh), and David Dale Gallery (Glasgow).
 
http://www.lydiadavies.co.uk
@lydiaacdavies

ANIRUDDHA DAS/DSPSSSSD - BLIGHTED MEMORY

Focussing on the Bengal Famine of 1943, I will examine through both sound and text, the erasure of memory as a consequence of collective trauma, or through the deliberate omission and obfuscation of historical facts and texts by different actors with certain political motivations.    

As a person born and brought up in London of parents emanating from the state of West Bengal, India, the geographic and cultural counterpart of Bangladesh, it always perplexed me - once I’d heard of it - how a massive event involving the unnatural deaths of 3 million people in a short span of time and within ‘living memory,’ was barely mentioned in conversations within our community, nor the subject of any commemoration or ceremonies at social events. It is barely acknowledged in the psyche of the British host community and I query its presence in any educational curricula in the UK.    

I will record testimonies from my Mother, now in her mid nineties, who was about 12 years old when the famine occurred and perhaps some aunts. These will be in Bengali and perhaps some in English. These won’t be used solely for literal narrative, but will also be manipulated to become part of the textural fabric of the composition. The overwhelming bedrock of the piece will be heavy bass pulsations and drones, distorted, corrupted and degraded to represent ‘blighted’ and fading memory as a parallel sonic narrative. These frequencies will interact with and amplify the meaning of the text and further illustrate the theme. I will also record my voice, edit any pre-existing commentaries, and incorporate my own live spoken word in the actual performance. I will inject some traditional motifs in to the mix, such as “dhak”  (a type of Bengali “dhol” drum) and harmonium,” albeit processed and filtered to represent "cultural ghosts."    

Experimental sound, noise music and sound art in both West Bengal and Bangladesh is currently dynamic, thriving and significant in the wider Indian sub-continent. When I embarked on my journey in to exploratory sound seven or eight years ago, I was oblivious to the presence of these practitioners and have thus engaged in some kind of lateral development in the disapora. Clearly, my interpretation of the subject matter will be that of a second generation child of Bengali migrants living in fact in the heart of the former empire.    

The choice of the title “Blighted Memory” is based upon wordplay. “Blight” of course refers to something that has been ‘afflicted,’ and here pertains to damaged memory. However, it’s also appropriate as a word associated with famine or plague. But “Blighty” is also the word adopted by the British colonists in India, as an affectionate slang term for England or Britain, that derived from the Bengali word (itself acquired from Urdu) “bilayati,” which meant ‘foreign’ or ‘abroad.’

ANIRUDDHA DAS BIOG

Aniruddha Das is an electronic musician active at the intersection of bass culture, experimental noise and sound art. He embarked upon his current practices approximately 8 years ago having been previously a producer, bassist and live performer in the world of electronic dance, dub and pop.    

With his project DSPSSSSD (“dispossessed”), he focusses on cyclical noise motifs and distressed low frequency pulsations and drones. The cassette “Offcuts From Reality” on Courier Tapes is a sonic commentary on the psychological and political state of the UK post-covid, with tracks like “Exit Wounds” referring to the debacle of Brexit and “Protection Racket” citing the PPE Scandal. It was an attempt to present the notion, anathema to some, that sound art can and should be used to convey political sentiment.    

DSPSSSSD emerged out of his "mutant dancehall" project Dhangsha (Bengali for ‘destruction’), where, in his live performances, he needed to create non-metric passages to transition between beat-orientated tracks. Dhangsha sees him re-purposing the components of dance music to create turbulent soundscapes that resonate beyond the confines of a club.    

Known for his improvisational and visceral live sets, Aniruddha has performed throughout the UK and Europe, including several times at Cafe Oto and Iklectik and at Cave12, Geneva and Industrial Coast, Middlesbrough. Festivals he has appeared at include “Electric Spring”, “Supernormal” and “Bone-Iklectik,” Barcelona.    

He teaches in the Department of Electronic & Produced Music at Guildhall School of Music & Drama and has run workshops in the Sound Art Department at the London College of Communication.    
 
https://www.instagram.com/dhangsha_music/

Found recording, reconstructed, and edited by Hunda Sound with Paul Brennen

Back in 2022, I bought an old Nokia from a pawn shop in Perth with a view to making some glitchy bit-crushed melodies. Before long, I realised that far from having been wiped clean, the phone was still home to a stack of voice notes. I was sufficiently unsettled by them to take them to the police who began an investigation. Weeks later, they came back to me with the news that they’d uncovered nothing of note and suggested I’d been taken in by a hoaxer, “arts poseur” or “arts-based drug-user”. Quite possible. Then again, this is Perthshire: things happen here.

Enter Radiophrenia, the ideal platform to air the recordings in all their liminal strangeness and perhaps an opportunity to connect with someone able to shed more light on the mystery.  

Featuring actor Paul Brennen, Untitled is Hunda Sound’s reconstruction of the Nokia voice notes based entirely on the original recordings and incorporating elements of their audio. Hoax? Fugue? Burnout? Assumption? If nothing else, these clips are another single strand in the manifold weave of Perthshire’s mythico-history. 
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biographies:
 
Originated by Luke Sutherland, Hunda Sound sits at the confluence of multiple disciplines. The current primary focus is in creating art - often through improvisation, with strong entropic elements - birthed from interactions between the expressive impulse and the geography, psychogeography, history, social memory, and mythology of rural Perthshire.

Paul Brennen is a RADA-trained actor, writer, director and teacher whose career spans more than three decades across theatre, film, television and audio.
His stage work includes leading roles at the National Theatre, the Royal Shakespeare Company and Shakespeare’s Globe, as well as productions in London’s West End and on Broadway.
His screen credits include Alien³, Men in Black: International, Borgia and The One,
An accomplished voice artist, Paul played Rhalic, God of Humans, in the BAFTA-winning video game Divinity: Original Sin 2.
Alongside performing, Paul directs and teaches actors internationally, with a particular passion for Shakespeare, ensemble practice and the living relationship between voice, text and imagination.

Tuiuiú is the mystical bird-symbol of the Brazilian Pantanal, embodying the resilience and quiet majesty of this ancient echo system.
The folktale describes the devotion and longing of the bird towards departed lovers whose love was spiritually connected to the ancient land.

In this tape recording we share expansive sounds collected from the world's largest tropical wetland; a claustrophobic home-recording on female hysteria; meditative chants; and a live gallery performance on the Celtic triple goddess Brigid: healer, protector of nature, goddess of fire, water and prophecy.
It's a contemplative piece where we grieve the loss of a past when people loved and respected their land, honoured their ancestors and lived more connected to one another.

Artist bio:  
Experimental sound-art performance trio Cleaver Boi and The Hungry Ghost find inspiration delving into mythology, the natural world and supernatural phenomena to explore themes of belonging, displacement and womxnhood with processed vocals, electroacoustic and MIDI instruments, field recordings and digital effects.    

Website/social links   
https://cleaverboiandthehungryghost.bandcamp.com/
https://www.instagram.com/hungryghost.boi/

1 Nikos Stavropoulos - Painless/Repeat (4:36)  
2 The Gorgeous Pouting Mr AR - Xi'an, Xi'an, what a great place for lunch! (7:00)  
3 Emiliano Fernandez Russo - Cuestión Contemplativa (Contemplative Matter) (20:41)

4 Dominika Glogowski & Isabella Forciniti - Transversal Sound-ness (3:05)  
1) Nikos Stavropoulos - Painless/Repeat
 
The work seeks to articulate repetition as an operative principle within the otherwise fluid, continuously transforming structure of acousmatic sound, positioning reiteration as a stasis, a hesitation and a celebration of the moment.      
 
Nikos Stavropoulos (Athens, Greece, 1975) is a composer of predominantly acousmatic and mixed music. He read music at the University of Wales (Bangor, Wales, UK), where he studied composition with Andrew Lewis and completed a doctorate at the University of Sheffield (England, UK) under the supervision of Adrian Moore. His music is performed and broadcast regularly around the world and has been awarded internationally on several occasions. His practice is concerned with notions of tangibility and immersivity in acousmatic experiences and the articulation of acoustic space, in the pursuit of probable aural impossibilities.      
 
https://www.facebook.com/nikos.stavropoulos.52
https://soundcloud.com/nikos-stavropoulos
 
2) The Gorgeous Pouting Mr AR - Xi'an, Xi'an, what a great place for lunch!

I travelled to the city of Xi'an, China in November 2025 to deliver workshops in sound and music to students at Xi'an Academy of Fine Arts. I expected a culture shock but was pleasantly surprised to feel completely at home from the first day I arrived. Food was the key. After being picked up at the airport, my Chinese colleague Lucy took me for lunch/dinner.  Lucy and I shared many delightful lunches subsequently.  When not teaching or munching on lunch I embarked on some dérives around the city with a Zoom H4 and iPhone to hand.  Xi'an is replete with history but my dérives were focused on food. Bite me! Or rather bite that delicious roasted sweet potato (a staple street food offering).  The sound piece opens with the strident call of a noodle bar proprietor  seeking customers. I hope he got a few.  Unfortunately, I was full up.

The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin – a Glasgow-based producer, composer, musician and academic. Ronan is co-director of La Chunky Studio in Finnieston.  In the noughties - Ronan co-composed many radio jingles and TV themes, which can still be heard on hip TV channels such as UK Gold and Dave. As a day job, Ronan runs a Masters in Sound for the Moving Image at GSA.  Ronan also plays keys and produces The Tenementals, a band that explores a radical history of Glasgow.      

http://www.lachunky.com
https://strengthinnumbersrecords.bandcamp.com/

3) Emiliano Fernandez Russo - Cuestión Contemplativa (Contemplative Matter)  
     
"Cuestión Contemplativa (Contemplative Matter)" is a soundscape that explores the idea of spaces as sensory constructions. It reflects how real, often vastly different environments coexist and intertwine through our perceptions and thoughts. I can be sitting in my living room and imagine I am at the beach, at a party, or in the countryside.    
 
Emiliano Fernández Russo is an Image and Sound Designer (FADU, UBA), Sound Director, and Audiovisual Filmmaker. As a founding member of La Cátedra Produce and founder of Bunker Lunar, he has built a strong career in sound craft and storytelling. His work on the short film "Susto" earned him the Best Sound award at the 2025 7SIFF Festival, a film that achieved major critical acclaim including the Grand Prix. Emiliano has served as Sound Director on various projects such as "Sibilancias," "Yo, Sara," and "Vino y se fue." Having directed the short film "Toti," he is now developing its sequel.     
https://bunkerlunar.com/en
https://open.spotify.com/intl-es/artist/797tokKsbttyNBb8q9FgHC?si=MUgdN6cIRL2OsSrwwDcy8A
https://www.imdb.com/es-es/name/nm17522401/?ref_=ext_shr_lnk
Instagram: @_emiliano_gabriel_

4) Dominika Glogowski & Isabella Forciniti - Transversal Sound-ness

Transversal Sound-ness is a sound collage that incorporates fragmented voices with a continuous percussion beat. Dominika Glogowski, an artist and researcher, and Isabella Forciniti, a sound artist, engage in a collaborative dialogue of phrases, sampling techniques, and granular synthesis. The words were co-created during an embodied listening seminar in Leoben, Austria, in 2024, with multidisciplinary scientists from the RE-EURECA-PRO project, following Dominika Glogowski’s Deep Speech Listening method. The sonic material alternates between disintegration, deceleration, and resumption, challenging the cognitive processes of listening and understanding to decondition the reasoning mind. The sound collage is composed in stereo but is versatile and can be adapted to multi-channel formats, including 7.1, to enhance its immersive and spatial qualities.  

Acknowledgements for Voice Contributions: Virginia Alizioti, Jan Bongaerts, Laura Estévez, Karoline Gritzner, Vanessa Juliane Herrmann, Sabin Irimie, Aga Kosciuszko, Robert Prodanciuc, Julia Sishchuk, Gunter Süß, Oliver Torres    

Dominika Glogowski, an interdisciplinary artist and researcher based in Vienna, Austria, works on cross-sectoral environmental action and has developed Deep Speech Listening as an embodied art-sci conversation technique to challenge reasoning processes. https://artecoindustry.com | https://flechtwerk.or.at  

Isabella Forciniti, a sound artist from Italy based in Vienna, Austria, is deeply engaged in diverse artistic pursuits, including performance, composition, research, and innovation.
https://isabella.klingt.org/      

https://arteocindustry.co

1 Simona Dichio - Creation's Gap (4:06)        
2 Owen Duff - Selections from The Meaning of Alexa (Ambient) -  What is it like in the cloud (7:22)
3 Rhiannon Siân Clucas - Hertz to Hertz 2 (6:27)    
4 Uma Volkmer - it feels complex but calm (5:08)    
5 Paul Antick - LOSS WORTH LOSING (2:00)  

1) Simona Dichio - Creation's Gap    
"Creation's Gap" aims to explore the cycle of life and the mystery of time through the wise eyes of an old oak in the dense forest. The approach of two creatures sparks a play of glances that unleashes a temporal metamorphosis. The tree undergoes a rapid cycle of growth and decline while time seems to stretch around it. The eyes of the brighter animal shine with intense red, marking a turning point. In the end, yet another significant visual encounter leaves the oak unchanged in its eternal cycle of life and rebirth. "Creation's Gap" invites listeners to reflect on the cyclical nature of life and the timeless flow of time through an immersive sonic experience.
 
Simona Dichio (b. 2003, Cerignola, Italy) is an electroacoustic composer and visual artist. She began studying classical guitar at seven, later exploring percussion and electric guitar, alongside electroacoustic and experimental composition. Her works have been performed in Ecuador, Peru, Portugal, Bosnia and Herzegovina, and Italy at international festivals. She graduated with a Bachelor’s in Electronic Music from the “U. Giordano” Conservatory of Foggia in October 2025 and is currently a Master’s student. In 2026, she will study in Norway for six months through an Erasmus scholarship, further developing her electroacoustic and audiovisual practice.    
https://www.youtube.com/@saeemon
https://www.instagram.com/saeemon_?igsh=MTZpMmdpNTl0ejQ1bw%3D%3D&utm_source=qr
 
2) Owen Duff - Selections from The Meaning of Alexa (Ambient) -  What is it like in the cloud 
These are selections from a long-form work I have just completed, derived from an improvised piano and vocal ‘duet’ with an Amazon smart speaker which I recorded and then processed with extreme time stretching, editing and sound design. I also included audio of what the smart speaker recorded during the duet from Amazon’s servers.

With this piece I wanted to evoke in sound the space between human expression, represented by my freely improvised playing and sung questions, and AI’s understanding of it. I also wanted to explore the blurring lines between humans and the technology we have invented, and to play with the dichotomy between our ideas of freedom and a digital capitalism which has promised to deliver that freedom, but has arguably removed our liberty to reject capitalism.

Owen Duff works across multiple artistic fields, from his work as a singer-songwriter with many albums and videos released over 20 years, to his work making music for screen such as the Queerty-nominated series Kissing Walls. As a sonic artist Owen was Highly Commended in the 'Composed with Sound' category at Sound of the Year Awards in 2023, created the sound art/poetry collaboration 'Ghost Dance' with poet Emily Berry, which was a featured premiere on BBC's Late Junction in 2024, and had work selected for an In The Dark listening event the same year.     
http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com

3) Rhiannon Siân Clucas - Hertz to Hertz 2 
You are travelling across ghost frequencies on an outdated technology. Most of the airways are empty but you think you can hear voices underneath the crackle, if you listen well enough. They are speaking in a language you cant understand, you are in a far away land.    

I am a sound artist interested in having and listening to conversation      

rhiannonsianclucas.cargo.site

4) Uma Volkmer - it feels complex but calm
This work was created as part of a larger project, the space between sun, with Boorloo (Perth) based improvisers Saskia Willinge and Naoko Uemoto. We met at a creative development in 2023 and have been interested in finding ways to create music together despite our geographical distance. This work contains fragments of Saskia and Naoko's improvisations/field recordings, which were responses to visual and text scores I sent to them in late 2024. Sending ideas, thoughts, feelings, back and forth; it feels complex but calm, reflects a moment in time as we find ways to collaborate despite the space between us. The instrument samples (improvisations) and field recordings used to create this work were recorded by Saskia Willinge and Naoko Uemoto in Boorloo on Whadjuk Nyoongar land. Then edited, mixed, re-arranged and organised by Uma Volkmer on Gadigal land.
Flute: Saskia Willinge
Saxophone: Naoko Uemoto    

Uma Volkmer is an emerging sound artist based on Gadigal land in Sydney, Australia . Her practice is experiment driven with a focus on collaboration, connectivity and an explorative dialogue between visual and sonic forms. Uma loves to explore fluidity, abstraction and ambiguity in her work, using improvisation as a vehicle to create unexpected sound worlds, feelings and textures. As a trumpet player Uma has performed in Sydney within various projects, such as with band Bad Photography, SCALP Ensemble and Splinter Orchestra, as well as at SoundOut Festival (Canberra) and WWIM (Perth).     
https://www.instagram.com/_umav/

5) Paul Antick - LOSS WORTH LOSING
One way telephone conversation.     
 
Artist, writer and filmmaker Paul Antick's work has appeared in various places, including: Allegra Lab, Journal of Extreme Anthropology, Journal of Visual Culture, John Hansard Gallery, Horse Hospital, and Belfast Exposed Photography Gallery. Tracks from his music project 'Troll' (2025) - a 'country punk' album by Smith in Finland - have recently featured on Resonance FM and Radio Orange, Vienna. He lives in London.    
https://www.smithandwilling.com
https://smithinfinland.bandcamp.com/album/troll
https://allegralaboratory.net/is-this-still-life-all-im-good-for-too/