Fri 11

“Blues for a Shortwave Listener,” is a three-part, one-hour soundscape inspired by radio noises and shortwave listening. It was assembled using field recordings, modular synthesizers, and radio recordings. Conceived and produced between 2020 and 2021, it was the aural part of a slow TV program broadcast in Oakland, California.

The soundscape is divided into three parts, as follows:
    1. Check out the Future (00:00:00)
    2. A Crescendo of Radio Hate (00:21:43)
    3. Blues for a Shortwave Listener (00:34:13)

Artist bio:
Chelidon Frame is an experimental electronic music project that mainly works with field recordings, radio interferences, guitars, and processed sounds.

His installations are experience-based and suggest a dialogue between the location (both virtual and physical) and the sounds proposed, aiming to deliver a message in the simpler yet most effective way. The use of code, data analysis, and data-driven sounds, allow information to be experienced anew.

In his studio works and live sets, different layers of sounds - guitars, synthesizers, and custom-made instruments - pile up creating unexpected new soundscapes. He is the founder of the Asynchronous Drone Orchestra.

Website/social links
https://chelidonframe.site/
https://www.instagram.com/chelidonframe/
https://www.facebook.com/ChelidonFrame
https://x.com/ChelidonFrame
https://www.threads.net/@chelidonframe

https://chelidonframe.bandcamp.com/
https://www.patreon.com/ChelidonFrame

Named after the microscopic crystals of calcium carbonate within our inner ear that can cause vertigo when dislodged, Otoconia has an equally disorientating effect as all sense of time is dissolved in its delicate folds. Otoconia is an abstract and deeply immersive sonic experience crafted through the intricate interplay of field recordings and the EMS Synthi 100 synthesizer. The basis of the piece is formed from processed field recordings run through a chain of the Synthi's filters and effects. For the most part the piece was mixed live with some tinkering and adjustments after the fact. A significant departure from the work with found tapes and audio archaeology that Vernon has become known for.

https://grannyrecords.bandcamp.com/album/otoconia
 
Artist bio:
Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.
 
http://meagreresource.com

A decoupage of recent recordings by 2 off-and-on collaborators and expat Illinoisans Andy Armstrong and Roy Culbertson. A hodgepodge of boudoir synthesis, tape manipulation, pontoon reverberation, electromagnetic sounds, percussive banjo, feedback and hasty stops. Artist bio: Both Roy Culbertson and Andy Armstrong are musician/sound artists from Illinois, now living in Vienna and Rennes, France respectively. Website/social links https://saa4.tumblr.com/ https://libramar.bandcamp.com/

These works were recorded late at night during long solo improvisations. A small table lamp illuminated the Moog guitar laid flat on a table surrounded by assorted found objects and guitar pedals whose multicoloured lights blinked delicately in the near shadows. Time moved slower. A sense of stillness and solitude provided a quiet contrast to the sounds pulsating around the room. Each take made as if it were an actual performance, the rule being always to finish the set. As much about training the mind as discovering something new, nothing was premeditated before the first sound occurred, the end never final, always open. The pieces are meaningless in that way from the moment of their first unravelling to their final decay into silence. They are explorations of the material at hand, the objects on the table, a sound sensed but as yet undiscovered.

Artist bio:
Bill Thompson is a sound artist and composer. He performs regularly as a soloist as well as in a number of groups including The Seen, Three Plus One and Airfield (with Ian Spink), and duos with Richard Sanderson, Phil Durrant, and Yoni Silver. Past collaborations include performances with Keith Rowe, Faust, EXAUDI and others.

Originally trained as a guitarist, Thompson has worked with live electronics for over 20 years. He now performs with a Moog guitar combined with electronics and miscellaneous tabletop devices, found objects, flashing lights, and the occasional vibrator.

He has earned numerous awards and commissions including the Venice Biennale, Organ Reframed, the Sound Festival, the PRS for New Music ATOM award, the GAVAA Visual Arts Award, a PRS for New Music Three Festival commission, the Aberdeen Visual Arts Award, and was nominated for the Paul Hamlyn Award.

Website/social links
http://www.billthompson.org
https://burningharpsichordrecords.com

Social Media:
https://www.facebook.com/professor.lofi/
https://www.instagram.com/prof.lofi/
https://www.youtube.com/user/proflofi

And to Ash: https://ashinternational.bandcamp.com/

Episode 5. What's in The Basement?

Leonard convinces the operator to look for something in the basement. He finds it, and more... Also: We hear a show about a very special call centre, meet an interplanetary explorer, and listen to music about numbers.  

Produced by Pete Hazell, with additional material by Sean Lee. ~ Theme music by Alex Lupo   ~ Artwork by Everything Has Gone Wrong

These archive recordings throw a light for those who see shadow puppets in the noise and chaos radio airwaves. As we eavesdrop on the solitary Operator's dispatches, we wonder what we can learn about Limbo, and life at the ambiguous "outpost".  

All episodes available here: https://limbotapes.podbean.com/

THLEEP is an ongoing sound and light project exploring the therapeutic potential of neuro-acoustics and vision physiology to reduce anxiety and improve sleep. Initially developed as live performances involving large-scale LED screens and projections, in 2023 we began developing a series of audio-only works intended for listening via radio. These pieces blend natural and ambient sounds, offering experimental audio experiences that explore how sound can passively shape mental and emotional states. Integral to the approach is the subversion of perceived stereotypes of meditative sounds; by using more everyday and mechanical environmental sounds to produce rhythmic lulls, and gradual bpm and volume declines and inclines to create passages of tension and release, we induce states often associated with more stereotypical meditative 'music'.

THLEEP present 6 pieces for broadcast that utilise the inherent psychological safety and comfort of the radio format to offer a restorative and experiential program for the audience.

Artist bio:
THLEEP; Therapising For Sleep; a series of sound and light investigations; combined as a synaesthesia to reduce anxiety and promote healthier sleep cycles. The works are developed by a collective of artists, with Damian Rayne & Amit Rai Sharma being continuous members across the project.

Damian Rayne is a UK based professional focussing on arts practice and promotion, culture and community.
Amit Rai Sharma is global majority soundartist with a background in applied audio psychology - based between the UK and Taiwan.

Individually and collectively their work and performances have been exhibited in UK, Europe, and Asia.


Website/social links
Project website - https://thleep.earth
Thleep at Trellick 50 in 2022 - https://youtu.be/WE4ySQvUG6I?si=y72ueXZ5qOGFmz76
Synaesthesia session (lockdown session) - https://youtu.be/_8hS8wt2xYc?si=GVPpX1KXi4Q01LCj

Artists
Damian Rayne IG - https://www.instagram.com/deetzschk
Amit Rai Sharma artist website - https://www.amitrsharma.com

December Bells is an ambient work of nearly two hours, an expansion of an eight-minute kantele (Finnish zither) composition by Pauliina Syrjälä. An instructor at the Sibelius Academy in Helsinki, her piece Kirkonkellot (Church Bells) is based on a kantele recording from the early 20th century. The instrument is synonymous with Finnish identity, its creation attributed to the mythological shaman Väinämöinen, who chanted powerful spells. The densely overlapping textures of December Bells reflect this, along with the traditionally repetitive and interlocking nature of kantele performance, and similar singing styles of the Baltic region. Syrjälä’s work can be heard at https://www.youtube.com/watch?v=JKHAxW_Gp7M.

Artist bio:
Vedran Mehinovic was born in Sarajevo, Bosnia and Herzegovina. He received bachelor’s and master’s degrees in Composition from New England Conservatory, and a doctorate from UC Santa Cruz. In 2007, his piece RA was selected as one of just three orchestral works to be performed during the Gaudeamus Music Week in Amsterdam, winning Honorable Mention at the week’s end. An enthusiast of world arts, Mehinovic has organized concerts of Korean, Hindustani, Uyghur, and Chinese music. His works have been performed in Bosnia, Croatia, Switzerland, France, Portugal, Spain, the Netherlands, Japan, Korea, and the United States.

Website/social links
https://www.babelscores.com/VedranMehinovic

This work symbolically depicts the complex and tense state of the global environment by beginning with footsteps, followed by the gradual overlapping and unfolding of ambient, unbalanced harmonies and noise.

The footsteps symbolize the traces of human existence and its impact on the global environment. Harmony and noise symbolize the dissonance caused by human intervention in the global environment.
The acoustic space of monotonous footsteps and noise may be heard as a space of wishful thinking that the environmental problems we are facing at the moment are just a dream.
The sustained resonance of harmonies may be heard as the cry of the earth.
The silence at the end may be interpreted in many ways as to what it means.

Artist bio:
KAZUYA ISHIGAMI (b. 1972, Osaka/JAPAN) is a composer, sound designer, sound performer and sound engineer in the field of Electroacoustic/Acousmatic/Post-Acousmatic/Ambient/Noise, etc.
Since 1992 he has created under the name of DARUIN. He began using computers for composition and improvisation in 1994 with the programming language Max/MSP and others.
His pieces have been performed at CCMC (Japan), FUTURA (France), MUSLAB (Mexico), SILENCE (Italy), ICMC (2015_USA/TEXAS), Music From Japan 2020 (USA/NY) among others. He has an independent label, NEUS-318, and has released more than 100 works.

Website/social links
https://neus318.bandcamp.com/
https://kazuyaishigami.bandcamp.com/
https://omodaru.bandcamp.com/
https://soundcloud.com/kazuya_ishigami

A recorded excerpt of a site-specific sound installation for radios and low watt FM transmitters created in Homer Alaska at the Bunnell Street Arts Centre. Multiple transmitters are set up in an array throughout the landscape, each broadcasting (on the same frequency 89.1FM) a unique collage of sound and story about the immediate surrounding. As you walk through the landscape with a radio tuned different signals fall in and out of range, each signal a unique collage of sound and story that explores the resonating history and memory that animates the landscape. Each collage is of a slightly different length and plays on a loop 24/7 creating a structure in constant flux, a narrative work with no fixed order that is never the same twice. The recording submitted is a snapshot of the work up and running, made on site through a radio in the streets and beaches of Homer.

Artist bio:
Andrew O’Connor is an independent radio producer, and sound artist based in Toronto Canada. His work reflects an interest in sound, storytelling, and transmission, and explores these ideas through formal broadcast radio as well as installation art, sound design, and pirate radio.  Andrew’s work has been featured across the CBC Radio network, syndicated internationally, as well as featured at the Third Coast Filmless Festival, and the UK International Radio Drama Festival. Andrew currently hosts and produces a weekly pirate radio show called DISCO 3000 on his long running, clandestine radio project Parkdale Pirate Radio.

Website/social links
https://parkdalepirateradio.wordpress.com/
https://www.bunnellarts.org/tune-in-homer-audio-soundscape-by-andrew-oconnor/

A celebration of the surprising story behind an everyday monument from the Edwardian era. Songs and soundscapes have been derived directly from the streets of Tobermory and the words of Isabella L. Bird, pioneering explorer, traveller and author who was the first female member of the Royal Geographic Society. Her far-sighted appreciation for cultures and ways of life outside the strictures of her Victorian religious upbringing. "A woman's right to do what she can do well". "You must know that I am at heart a savage."

Artist bio:
George Burt is a composer, improviser and songwriter based in Glasgow. Founder member of the Glasgow Improvisers Orchestra.
Raymond MacDonald is a musician and academic whose work has placed him at the centre of the improvised music scene in Europe.
Gordon Maclean is one of Scotland's most revered record producers, and a central figure in Scotland's music and cultural scenes.

Website/social links
https://www.raymondmacdonald.co.uk/
https://en.wikipedia.org/wiki/Raymond_MacDonald
https://gburt.blog/
https://burtcassidy2020.wixsite.com/mysite

1 Aline Chambras - j'écoute marcher dans mes jambs (1:45)
2 Jaime Cid-Lara - Terramorfismos de una muerte glacial [Daying glacier's terramorphisms] (7:26)
3 zhanraw- i give you technology (4:04)
4 Prabuddha Mukhopadhyay - Reflected sounds to a third generation refugee (5:10)
5 Canaan Balsam - I hope this email finds us both dead (7:44)
 
 
1) Aline Chambras - j'écoute marcher dans mes jambs

Au gré et hasard des poèmes de René Char, une rengaine, des bribes, Parole d'Albatros
Avec des extraits de Bel édifice et les pressentiments, Loi oblige, Le visage Nuptial, L'Avenir non prédit.

Réalisatrice et compositrice sonore, je produis (prise de sons, montage et mixage) des documentaires, des reportages, des portraits sonores, des pièces électroacoustiques, des bandes-sons, de la poésie sonore, des objets sonores, etc. . Travaillant toujours au plus près du terrain, j'accorde une attention toute particulière aux paysages, aux voix et aux liens sensibles entre récits, rythmes et environnement . J'ai travaillé notamment pour la radio, des musées, des collectivités, des compagnies de spectacle vivant.
https://soundcloud.com/aline-chambras
https://www.atelier-sonart.com/

 
2) Jaime Cid-Lara - Terramorfismos de una muerte glacial [Daying glacier's terramorphisms]

The work is part of a project called Expedición Imaginaria, which combines arts, geology, and andinism. In this case, it is a sound art piece inspired by geological research conducted by Javiera Roco, a collaborator on the project. She studied the glaciers in the central regions of Chile and found many becoming buried under rocks. The composition integrates fictional voices that sound as if transmitted by radio (I can provide the translation if needed). This work premiered at the VI Congreso SOCHICRI, a cryosphere conference held in Punta Arenas, Chile, in May 2024.

Jaime Cid Lara (Chile, 1991) is a transdisciplinary artist specialized in merging artistic elements with technical and scientific components. A composer, media artist, programmer, art curator, and Chilean explorer. He holds a degree in Musical Arts and is a scholarship student in the Magíster en Artes Mediales at Universidad de Chile. He works as a creative director at Austral Games and is a member of the Canal Alpha collective. He is the creator of Expedición Imaginaria, a project in the intersection art-sciencie-andinism.
http://www.jaimecidlara.com
https://www.instagram.com/jotacidlara

 
3) zhanraw- i give you technology

Through field recordings of ocean waves, heartbeats, and urban noise, “i give you technology” is an experimental sound composition that juxtaposes the natural and artificial, reflecting an interpersonal romantic relationship and how love intertwines with the functional and the mundane.This auditory landscape prompts listeners to consider the relationship between parts and the whole, uncover hidden melodies, and observe themselves within varying ecologies. Each listen reveals new layers, prompting reflection on the delicate interplay between nature, technology, and personal experience, where forces shape and are shaped by one another in ways that are both transient and enduring.

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


4) Prabuddha Mukhopadhyay - Reflected sounds to a third generation refugee

During the partition of 1947 in India, my grandfather migrated from (now)Bangladesh to India. He left his home forever and never went back. Nobody from my family line has ever been to Bangladesh after that.
Till his last breath, his only wish was to get to that place, at least for once. He couldn't. The home, the roots that my grandfather left have vanished now, it does not exist. I have only heard stories of it, and will never be able to see it.
That time has gone by, and that space has become extinct. This work is a reflection of how I have searched for a space that doesn't exist anymore.
All the recordings were done in Bangladesh during a field trip.

Currently, I am a student of sound recording and design at Satyajit Ray Film and Television Institute, Kolkata, India.
I am a budding sound artist interested in Film sound design along with the urge to explore ‘Sound as an independent artform’ instead of just a tool to apply it in cinema.
My interest lies mainly in sound art and field recording and how to shape it in the context of new media.
As a budding field recordist and sound artist, I try to explore the possibility of sonic art in the medium of film through various devices.
https://www.instagram.com/prabuddha._.m/
https://vimeo.com/user104141219

 
5) Canaan Balsam - I hope this email finds us both dead

Canaan's work explores the dead space between ambient and new age music; the liminal zone between the harshness of industrial and the beatific serenity of devotional music. It is this balance between body horror electronics and the calming balm of serene noise that is mapped out across their body of work that aspires to a religious like intensity and serenity whilst at the same time being informed / waylaid / destroyed by a background in noise and industrial music.

Canaan lives and works in Edinburgh, and their previous projects include Naked and he is currently part of sound art project Dreamwreck and industrial noise Caustic Bliss (Venalism). Canaan has performed in an iteration of the late Damo Suzuki’s Sound Carriers.
https://www.instagram.com/canaan_balsam/
https://www.youtube.com/watch?v=CiEpWNBlqIw

6 Galo Durán - Sonidero Colombiano (8:16)
7 Nicolas Dumay - La Distance (16:38)
8 Avi Ziv - Encounter With The Krell (6:19)
 
 
6) Galo Durán - Sonidero Colombiano

Sonidero  Colombiano is a soundscape, all sounds were recorder by Galo Duran in Cartagena and Bogota, Colombia in 2023, axcept one sampler about one  sound of interview a Pablo Emilio Escoba Gaviria in the eighties ( 80 )

Galo Durán - México . Based in CDMX / Mexico city . Since 2002 makes music for films projects. 2010-Artistic residence in Buenos Aires, Argentina, ( Recorder sounds in Bs.As) 2011- Recorder sounds in Jamma el Fna, Marrakech, Moroco. He has also participated in the International Film Festival in buenos aires Argentina BAFICI 2010 and in the international film festival Rotterdam IFFR 2012 Netherlands. 2013-Nominee to an Ariel prize - original music 2015-Performances in Tokyo, Kioto and Wakayama Japan - Recorder Sounds in Tokyo. 2017- Performances in Bangkok, Thailand, and ho chi minh city ( Saigon ), Vietnam. -Recorder sounds
https://soundcloud.com/galo_duran

 
7) Nicolas Dumay - La Distance

In this work, the author, who lives in Devon (England), talks about the distance that separates him from his son, who is growing up on the continent. He talks about the guilt of making a life on the other shore. And between the two shores, the sea, physical obstacle and point of contact with the other side, but also an enveloping and a comforting element when crossing is not possible. In the meantime, friends help him reflect on the polysemy of the word 'distance' (geographical, sensory, affective, cognitive, metaphysical, etc.). Finally, comes the time to return to the continent, a long journey that the author makes alone, guided by the smiles of the awaited reunion.
Written and produced by Nicolas Dumay, with advice from Claire Gatineau (from the ACSR, Belgium). With the voices of Chloé Thibault, Daniel Modave, Cassiel Aristei-Dumay, and Andrew Norris (Bruxelles/Exeter, June 2024).

Nicolas Dumay teaches experimental psychology, at the University of Exeter (UK). His field of research sits at the cross-talk between three fields: linguistics, memory, and the influence of sleep. He has no artistic track record, but just an attraction to speech and sounds. In June 2024, he attended a workshop on sound writing led by Claire Gatineau at the Ateliers de la rue Voot in Brussels. The submitted piece is the actual work that the author wrote and produced as part of this workshop.
https://soundcloud.com/nicolasdumay/la-distance

 
8) Avi Ziv - Encounter With The Krell

We are all waves of energy. The Encounter With The Krell uses sonification of electromagnetic fields, emanating from both motors and magnetic tape, as the book ends to generative synthesized statements. The performer applies nuance and expression in response to every sound, forming a dialog. This improvisation was captured live, in one shot, and without any editing. Recorded using a micro cassette recorder, custom EMF sensors, an electromechanical plucked instrument, and a 0-coast synthesizer.

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

Instagram: @evolving_door

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

Vanishing Signs on the Sky is the fourth part of a large-scale electroacoustic composition The Destroyer of Dreams and may be performed as a separate piece also. A very personal work, dealing with thoughts of happiness. Contains a large collection of various sounds – synthesized, concrete and many others. In this particular case, the whole sonic spectrum have been processed with both analog and digital tools to gain rather complex, hybrid textures. Composed and recorded at the De eM Studio, between April 2015 and June 2017. Main audio sources for this composition include complex analog, digital and hybrid synthesizer patches, various textures created with the use of phase vocoder technology, analysis and resynthesis of various sources. For the multichannel mix various advanced software processors were used to obtain a faithful spatial diffusion of the sounds. Premiere performance: April 15, 2018, Vox Electronica 2018 festival, Gunpowder Tower in Lviv (Ukraine).

Artist bio:
Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.

Website/social links
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

1) John Roach - I am a Radio (3:45)
2) Woo Haran -윤슬 (Ever-Changing) (5:00)
3) BELLA COMSOM - Eucalyptus in the Forest, Almond Tree in the City (7:21)
4) Matt Mason - Synthetic Atmosphere (11:00)
 
 
1) John Roach - I am a Radio

Radio, algorithm and space are intermediaries that connect us to waves, ideas and bodies. They exist seemingly without substance but provide an armature for experience to which we may become attuned and hopelessly attached. The words of the Transmitter, spoken by Caroline Bouissou, express an affirmation of Self. A radio is, like any mediator (or medium), both a trusted guide and a good listener eager to please. A litany of “I ams” was generated by a more recently birthed intermediary agent—the Google algorithm in response to the query, “I AM A RADIO.” John Roach generated sounds from recordings in an abandoned power plant in Isola, an empty apartment in Pontevico (both in Italy) and a cave in Kefalonia, Greece.

John Roach is a NY-based artist concerned with the often slippery role of sound in how we perceive the world. Recent projects explore the ability of sound to construct immersive portraits of places, and how the 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/
 
Caroline Bouissou's art/science practice uses a creative approach grounded in theoretical research.  She joined the multidisciplinary research group AOEE (Université Côte d'Azur) to work on "We all have 7 million years” focused on memory and mental images connecting art, archaeology and neuroscience.
https://carolinebouissou.com/


2) Woo Haran -윤슬 (Ever-Changing)

윤슬 (Ever-Changing) is a music composition for an 8-key marimba, accompanied by two processed field recordings from The Wave Organ in San Francisco and the Santa Clara River in Santa Clarita, California. The piece features continuous dragging and tapping on the marimba, guided by inventive graphic notations. The delicate marimba sounds evoke the shimmering glitter on a water surface, which the title "윤슬" represents. This soundscape, paired with the processed recordings, crafts an immersive and richly textured auditory experience.

Woo Haran, born in 2000 in South Korea, excels in music composition and visual art, blending forms for dynamic storytelling. Rooted in the universe [O8kk], Woo's symbols of the moon, clouds, and stars form his conceptual backdrop.
Educated at California Institute of the Arts (CalArts) with a BFA in music composition, Woo was mentored by Michael Pisaro, Ulrich Krieger, and Karen Tanaka. These influences shaped his vision and skills, pushing contemporary music and art boundaries.
https://wooharan.o8kk.com
Instagram:   @woo_o8kk


3) BELLA COMSOM - Eucalyptus in the Forest, Almond Tree in the City

These sounds have been collected in Rio de Janeiro. The first is a 100 year old eucalyptus tree in the forest (Tijuca Forest), the other is an almond tree in the city. Neither tree is native to Brazil. The eucalyptus was introduced to Brazil to meet the demand for railways, and the almond tree is said to have been brought to Rio de Janeiro by the Portuguese in their first invasion ships, as it was used as a counterweight for ships. Here I translate the inaudible sounds of each tree and try to identify, through linstening, the different levels of complexity associated with each habitat.

BELLACOMSOM, brazilian sound artist, completed a Master's Degree in Arts in the field of Sonology at University of Sao Paulo. Her work takes the form of installations, videos, performances, and radio art. She approaches experimental and electronic lutherie as a means of developing her poetics. Through the design of antennas and extended listening, she links nature, technology and spirituality. Her work has been presented in festivals, exhibitons, and radio stations, in institutions such as Tsonami Arte Sonoro, Haus der Kulturen der Welt, Radio Art Residency Weimar, Museum of Tomorrow, Sonic Matter Festival.
https://bellacomsom.com
https://instagram.com/bellacomsom


4) Matt Mason - Synthetic Atmosphere

Synthetic Atmosphere is an Electro-Acoustic hymn used in the production of Landscapes 01: Tuscon, Arizona, a multimedia dance, music, and film production in which the artists and dancers interact with the Arizona desert over the course of 6 hours. There are five total sections to this work, embodying different transformative processes: Synthetic Sun, Synthetic Metamorphosis, Synthetic Atmospheres, Synthetic Zeal, and ProtoSynthetic Landscape. Synthetic Atmosphere combines the sounds of desert birds, desert winds, and synthesizers controlled by weather-based phenomenon such as temperature. The result is a synthetic recreation of the Tuscon, Arizona's atmospheric sounds in audio form.

Matt A. Mason is a composer, pianist, and educator from Lincoln Illinois whose work has been described as brimming with "constellations of pitch and rhythm in a densely complex mesh." Matt's work as a composer draws deeply from his rural midwestern background, telling stories about queer visibility, nostalgia, social responsibility, and trauma. Matt's latest projects explore using the piano as an intermediary device in embodied performances. Matt is currently an Assistant Professor of Musicianship at Roosevelt University in Chicago, and a Ph. D in Music Composition and Theory (University of Iowa).
https://youtube.com/@matt-mason-new-music?si=_Ijiv2n8Vz2XCEJA
http://www.matt-masonmusic.com

5) Marc Perez - From The Roots Up (8:04)
6) Kate Wilson Hilferty - Two Channel // Rannoch Moor pt 2 (5:01)
7) andre birken - 31 monstrous demonstrations -  GAUMENFREUDEN 1, 2, 5 & 6 (0:56)
8) Noel Zavala - Song of Naziret (3:03)
9) Frontera Glaciar – Gamboa (4:00)
10) Lananh Chu – polysyndeton (3:11)
11) Neil Milton - Sinister Remanance (6:34)


5) Marc Perez - From The Roots Up

From The Roots Up is a solo piece for muted brass & accompanying tape written and performed by Marc Perez.
The piece puts an emphasis on lush and natural occurring sine tones in combination with the natural harmonic spectrum occurring from hand manipulation of a harmon mute, stemming from the inspiration of a flower blooming over time.
The trombone itself in this recording only plays a single Dyad over the tape, however the score and form of this piece itself is open to interpretation, with additional notes and length of form varying, giving flexibility and variance within the piece that exists within nature as well.

Trombone Player, Composer, Improviser, Artist & Author Marc Perez utilizes his unique understanding and approach to improvisation in a broad range of interdisciplinary practices. His approach to sound, music perception & non traditional notation is quickly making Marc a sought-after collaborator and making his work quickly known.
https://www.marcperezmusic.com
https://www.instagram.com/mapmusiq/

 
6) Kate Wilson Hilferty - Two Channel // Rannoch Moor pt 2

Two-channel recording diptych using a hydrophone and a homemade geophone in the piping network where water is released from the Rannoch Moor hydroelectric power station. The water, rich in peat, in extracted from the bogland, and funnelled in to the plant through pipes in the ground. When the water is released, the push resonates through the metal and plastic piping system in remote murmurs. A geophone on the exterior of the piping catches the sound of air and water in its release.

Bartender and field-recording hobbyist living in Glasgow. Interested in various methods of recording and enhancing concealed sounds with use of geophones, contact mics, and transducers.
https://soundcloud.com/user-380334898

 
7) andre birken - 31 monstrous demonstrations -  GAUMENFREUDEN 1, 2, 5 & 6

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


8) Noel Zavala - Song of Naziret

Sampled from the performance of Zamir Azyke of the Circassian folk Song of Naziret. The intro was converted from audio to midi file, then used to create different instrumental layers with a free online sequencer. After that, it was mixed with the sampled accordion and the previously isolated and looped vocals to create a new version of the song.

Noel Zavala (Monterrey, México, 1981) is a creator of concrete music and electronic music with his project sarabandPersona. He was part of the free improvisation groups Silent Twin, Talleres Cosmic and Hibridaciones Salvajes, with which they participated in local festivals and in the recording of several ambient, noise and psychedelia pieces. In 2024 he joined the sound experimentation and free improvisation collective, Tsunami Wave. In duo with Gerardo Colin he is working on a series of Harsh Noise albums for Otcrah Records.
https://linktr.ee/noelzavalaa?fbclid=PAZXh0bgNhZW0CMTEAAaZ9f3gVxPStirBqA7m02TzUR28zyOF_zGMk7K3POZr8kQqd0PJgQ9OgHms_aem_yDqEH9NMvTnYvNM1m8Zm8w


9) Frontera Glaciar – Gamboa

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

 
10) Lananh Chu – polysyndeton

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

 
11) Neil Milton - Sinister Remanance

Sinister Remanance is a sounscape inspired by David Toop's book 'Sinister Resonance'.  It is an electroacoustic work featuring a college of manipulated found sounds.  A remanance is the continuation of a sound that is no longer heard.

Neil Milton is a writer, DJ and audiovisual artist.  Inspired by collage, experimental film, expanded cinema and VJing, his work is a dialogue between the elements of sound, [moving] image and textual language.  In particular, he explores the relationship between words and their sonification, text as semantic signifier and aesthetic image.  Previously immersed in club culture, thematically he is engaged by issues of consciousness, altered states, spiritual transcendence, meditative bodily expression, and furthering communication.  He is also interested in the therapeutic aspects of sound and its use as a medium for exploring neurodivergence.
https://linktr.ee/Neiljmilton
http://www.neilmilton.com

Giuseppe Mistretta is an artist and writer based in Glasgow. He works with synthesis and field recordings to create atmospheres for others to inhabit. Mistretta is interested in what can unfold in the present moment and how different variables can help shape it.

Website/social links
https://giuseppemistretta.bandcamp.com/
https://soundcloud.com/seppe-mistretta

1) Yve Lomax - Quer - ep 5: Attentiveness is quite something (10.37)
2) Augustė Vickunaitė - one time ago (4:26)
3) Mondlane - tapeloopsdisintegrating (9:24)

1) Yve Lomax - Quer ep 5: Attentiveness is quite something (10.37)

Synopsis: Quer is a single voice spoken performance that moves through various modes of address, mixing the poetic, philosophical and the everyday. It is an experiment in how to say something and touches upon things considered pressing for living today. This includes: violence and the cry Why am I being hurt?; attentiveness, justice and ceasing to treat the Earth as a property to be owned; nonviolence and the magic of compassion; dissolving the distinction between ‘us’ and ‘them’; the question of belonging and how saying ‘I am queer’ up-ends it. Quer ends with the assertion that all of life is profoundly transverse and plays upon the old meaning of ‘quer’ as oblique, transverse. 
 
Credits: With thanks to Jono Lomax (sound) and Vit Hopley (script). Thanks also to Kristen Kreider.

Artist bio: Yve Lomax is a visual artist, writer and editor. She is currently a director of and editor for Copy Press publishers and its audio-visual platform Becoming Fireflies. Since the late 1970s she has exhibited nationally and internationally. Her first book of collected writings was published in 2000 under the title of Writing the Image. Recent publications: Here from There (a shared book with Vit Hopley, 2024); Nearness (2019); Figure, calling (2017); Pure Means (2014). Films/spoken performances include: Mad about justice (2022) and Political Life (2021).  Formally, she was a Senior Research Tutor at the Royal College of Art and Professor of Art Writing at Goldsmiths, University of London. Besides feminism, a longstanding concern has been writing for spoken performances.

Website/social links:
copypress.co.uk
 
2) Augustė Vickunaitė - one time ago  
From the album DANCE ALONE 
https://augustevickunaite.bandcamp.com/
 
 
3) Mondlane - tapeloopsdisintegrating
 
Mondlane is the solo moniker of sound artist Lisa Fabian, also in the Glasgow trio NEY. As Mondlane, she layers field recordings with processed vocals and manipulated fragments and electroacoustic instrumentation. She draws from a growing library of intimate recordings, using her narrative rich samples as instruments in improvised performances.

Interested in the personal and collective experience and unconscious, she explores the fragmentation and reassembly of narrative. Often touching on themes of intimacy, temporality, otherworldliness, and relationships that materialise in-between bodies and memories, as well as archival or collected material.
  

EN/ The Mouras guard the earth's hidden secrets. At the mouth of a cave, beneath a monolith, or in the mist of a hot spring, their enchanting presence watches over the entrances to mystical places, gauging the soul of anyone who wishes to enter these sacred sanctuaries.     Adventurous voices set out to encounter these Galician mythological beings, seeking the secrets etched in stone and the magical tales sedimented over millennia.     Will their songs reach the depths of the earth? Will they receive the Mouras' permission to pass? And will we be able to listen to the secrets that rise through geological layers, echoing as whispers in the hollows of our own bodies?   GA/ As Mouras vixían os segredos soterrados da terra. No limiar dunha cova, baixo un monólito ou entre o vapor dunha fonte termal, as súas partículas enfeitizadoras gardan as entradas dos lugares místicos, avaliando a alma de quen queira penetrar neses santuarios sagrados. Voces aventureiras lánzanse entón ao encontro destas criaturas mitolóxicas galegas, na procura dos segredos gravados na pedra e dos relatos máxicos sedimentados ao longo dos milenios. Chegarán os seus cantos ás entrañas da terra? Recibirán o salvoconduto das Mouras? E saberemos escoitar os segredos que soben polas capas xeolóxicas ata se converteren en murmullos nas cavidades dos nosos propios corpos? FR/ Les Mouras veillent sur les secrets enfouis de la terre. A l’orée d’une grotte, sous un monolithe ou dans la vapeur d’une source d’eau chaude, leurs particules enchanteresses veillent aux accès des lieux mystiques, jaugeant l’âme de quiconque souhaite pénétrer ces sanctuaires sacrés. Des voix aventureuses se lancent alors à la rencontre de ces créatures mythologiques galiciennes, en quête des secrets gravés dans la pierre et des récits magiques sédimentés à travers les millénaires. Leurs chants parviendront-ils aux entrailles de la terre ? Recevront-ils le laissez-passer des Mouras? Et saurons-nous prêter l’oreille aux secrets qui remontent les strates géologiques jusqu’à devenir des murmures dans les cavités de nos propres corps? Credits: MOURAS - Produced by Anne Lepère Voices : Karina Mouriño, teacher of the school of Taboexa, Galicia, Marion Sage and Anne Lepère Children’s voices : Emil Sebastião, Artai, Brais, Einar, Xurxo, Xián, Baia Rosalía, Seixo Based on the legends of the Mouras and the stories of Karina Mouriño Additional poetry, recordings, composition and mixing : Anne Lepère Special thanks to Marion Sage, Thomas Wyatt, Karina Mouriño, Jeanne Debarsy and Mark Vernon. Photo credit : Marion Sage Biography:   Anne Lepère – Sound artist, composer, and radio producer.   Since beginning my journey in sound art, I have woven together sounds, breaths, and words to cultivate a poetic practice of everyday life, from urban to rural settings. Inspired by Brussels’ creative hubs like ACSR, BNA-BBOT, and Q-O2, I began producing radio pieces in 2013, ranging from essays and soundscapes to spoken word and documentary poetry. In 2016, my work expanded to the stage through the Prototypes III training at Royaumont Abbey (Paris), after which I began composing music and sound for theatre, performance, film, and dance, collaborating with directors, choreographers, and filmmakers across various projects. My radio work includes Autopoïèse (2019), a piece awarded the Palma Ars Acustica and the Phonurgia Nova Prix Art Sonore, and Area (2022), a sound poem nominated for the Marulic Prize (Croatia) and the Radio Drama Festival (UK). Both pieces have been featured at international festivals. Since 2023 I’m also leading sound creation workshops in Romania, Galicia, Togo,... introducing participants to the art of sound exploration. Currently, I am developing Nuages, a new long-form piece that uses clouds as a sound score and explores collective poetry through workshops. http://www.annelepere.net

Rémanence is based on found materials, recorded by amateur sound hobbyists in France and Germany between the 1960s and the 1990s. The tapes and cassettes were collected in the two countries in Summer 2023, while on trip to investigate the sonic practices of French and German sound hunters. People were interviewed, and sonic material gathered. Sound hunters were amateurs interested in sound, who, from the 1950s, started to produce radio programmes, to organise national and international contests, to edit magazines, to gather themselves in tape recording clubs. This piece documents and poeticises their activities, that ranged from family recordings, to musique concrète, to the recording of bird songs, to the soundtracks of amateur films, to music, interviews and audio documentaries. Short electroacoustic compositions by me link and sometimes frame sound hunters’ recordings. The tapes and cassettes of this piece were collected thanks to a funding from the Deutsch-Französischer Bürgerfonds. Artist bio: Jean-Baptiste Masson is a composer and researcher working on the cultural history of listening. His music is interested in beatings, the dramatisation of listening, the dynamism of stasis. After a PhD at the University of York, he is at the moment a Marie Skłodowska-Curie / Bienvenüe fellow based at the Université Rennes-2 and a research fellow at the Cinémathèque de Bretagne, where he works on a manual for the restoration of the sound of amateur films. Website/social links jbmasson.com jbmasson.bandcamp.com

1) Catherine Street - Thought feels (3:16)
2) Sandro Nicolussi - Fair Use 2.1 (12:32)
3) Claire Barwell - Flat Life #5 (Scaffolding) (1:00)
4) Jon Tjhia - Even Looser Ends (17:42)

 
1) Catherine Street - Thought feels

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

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

 
2) Sandro Nicolussi - Fair Use 2.1

Fair Use 2.1 is a collage-like composition of improvised fragments and concrete sources – working with found sounds, abandoned dictaphone tapes and short wave radio. It sourced in the audio-visual live performance "Fair Use" Nicolussi developed and performed throughout 2024. It's like listening to an amateur broadcast that should have never been on air. After last years contribution "Paths yet do be defined" which was picked for Radiophrenia 2024 (back than under the now defunct alias BYDL), this is the second submission of Nicolussi to this great project.

In the audiovisual performance »Fair Use«, Vienna-based artist Nicolussi uses obsolete media and data carriers such as Mini DV, cassettes, mini discs or dictaphone tapes to open up a wide range of possible interpretations between borrowed originality, copying in artistic creation and handling of sensitive data. It features found footage and musical improvisation composed in real time. Nicolussi works in experimental sonic realms of Ambient, Drone, Techno and Noise. Electroacoustic systems, field recordings and everyday noises form the basis for his highly manipulated sound designs. Nicolussi released on labels like Objects & Sounds, Beach Buddies and Sama Recordings.

https://nicolussi.bandcamp.com  
https://instagram.com/creating.by.habit 


3) Claire Barwell - Flat Life #5 (Scaffolding)

The day they finally took the scaffolding down outside my flat. Noise pollution is a hidden menace to mental health.

Claire Barwell once made films and now makes (very short) sound pieces.


4) Jon Tjhia - Even Looser Ends

This piece was originally composed as a series of playful overlapping experiments with durations, aired on Short Cuts. Being a piece that relies on anticipated durations and a certain tempo, this simple time-stretched version is a playful realignment of the piece's key parameters, rerendering its internal logic.

Jon Tjhia is an artist, writer and editor working through radio and podcast, literature, photomedia, music and publishing. An award-winning radiomaker and award-losing writer, his recent work is published by BBC Radio 3/4, Un Magazine, LIMINAL, the Powerhouse, Avantwhatever and WFMU. He is widely disrespected as a musician.

https://informationjewellery.com
https://accesslab.world
https://instagram.com/infojewels

5) Tobi Belber - Leaving Traces (8:26)
6) andre birken - 31 monstrous demonstrations THE ELEC.L.AND. (2:28)
7)  Matilde Meireles - Magnetic Fields (13:17)

 
5) Tobi Belber - Leaving Traces

Not all beings are strictly present. Indeed, pubs are full of ghosts, as are the Scottish Highlands. ‘Leaving Traces’ excavates the temporal disjunctions concealed within both folk music and recording technology. The basis for this piece is a binaural recording of a folk session captured in an Edinburgh pub. The first section contains only the source material, which gradually distorts and then disappears into the abyss from which it will re-emerge in the second section. An ominous bird call, distant rumbles, and time-stretched footsteps usher us into the next section, where we find ourselves suspended in motion. A train can be heard moving through a great expanse, and we sense we are not the only souls wandering this barren land. A different spacetime (de)materialises, ‘plastic, stretchable and prophetic’ (https://dj.dancecult.net/index.php/dancecult/article/viewFile/378/391). From this great outdoors, a shimmering, de-substantialised voice emerges and asserts its being.

I have called Scotland home for 6 years and have found it an immensely inspiring environment for listening and creating. From participating in folk music sessions, to broadcasting and programming at Subcity Radio, I have been surrounded by an incredibly motivated and subversive community of artists. Recently, I had the privilege of completing the Sound Design & Audiovisual Practice MSc at Glasgow University, where I began developing my field recording and soundscape practice. Listening, recording, and blurring the sounds of my lifeworld has provided a means of exploring the essential ambiguity and undefined forces operating beyond our ordinary perception.
https://tobibelber.bandcamp.com/album/extracts

 
6) andre birken - 31 monstrous demonstrations THE ELEC.L.AND.

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

 
7) Matilde Meireles - Magnetic Fields

'Magnetic Fields' is part of my latest album 'Loop. And Again.', which was released in early October 2024. The track revisits field recordings of various telecommunication boxes made with contact microphones and an electromagnetic sensor and reinvents them in various processed forms as the basis for generative loops.

‘Loop. And Again.’ delves into the dynamics of magnetic fields, intricate wiring arrangements, and their interconnectedness with the shifts in the surrounding landscape. The album is part of ‘X Marks the Spot’, a larger project which used sound to map specific telecommunication boxes—only those emitting an audible drone—in the city of Belfast between 2013-2019. In the project, sound suggests different ways to engage with Belfast, where walking routes could be improvised to incorporate the drones as part of how we experience the city.

Matilde Meireles is a sound artist who makes use of field recordings to compose site-oriented projects. Her work has a multi-sensorial, durational and multi-perspective critical approach to site, where Matilde investigates the potential of listening across spectrums and scales as ways to attune to various ecosystems and articulate plural experiences of the world. Some examples include the inner architectures of reeds and complex water ecologies, resonances in everyday objects, local neighbourhoods and the architecture of radio signals.
https://matildemeireles.com/index.html
Instagram: @mtld_meireles

Both written and improvised ; recollections,  word play & absurd prose . Including pieces titled : things to face , poltergeist , objects too singing , Ambrosia of Black Sun , OPEN MOUTH IN THE DARK , pluton outs , Answers about Noise , poignant springs , Black Crowl , mythology , dihari buruh , locks and spears.

Artist bio:
Shaun Robert (1966 - ) impromptu expressions processed & filtered into moments of congealed sound ; also using field recording , in voxpop & audio voyeurism , of hauntological stylings , spoken word & singing. Falling apart to come together . Importance of sounds from analogue radio , magnetic tape manipulation can not be understated. Cross talk & frequency drifting pulls the strings of his heart & relating to loops and rough editing , audio drop outs , a Sonic Organic.

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

This is the sixth in the series of field recordings pieces from the field recordist and sound artist Toni Dimitrov dedicated to a city. After the field recordings from Athens, Milan, Ioannina, Belgrade and Bucharest, this time the sketches were recorded in Berlin during his stay in the city while participating at Berliner Hörspielfestival radio art festival in 2021, where one of his sound art documentaries “How South Becomes North” was nominated for one of the prizes. In the piece you can hear recordings from the lively life of Berlin, sound of the streets, parks, a festival, conversations of and with people, the noise from the U-Ban, sound of art pieces in galleries, all interweaving subtly, blurring the line between field recording and sound art. Concept, field recordings, editing and directed by Toni Dimitrov File under: field recordings, soundscape, sound documentary Artist Bio: Toni Dimitrov is a multimedia artist, cultural producer, radio host, organizer, curator, label owner, mountain climber and nature lover, living in Macedonia. He connects all those with the love for music, sound art and field recordings. Have been curving his way into the new experimental music/sound art scene with his solo engagement, collaborative releases, radio art and art installations. Working in the field of sound art and experimenting with electronic music and radio for more than 20 years. Have released under several monikers, bands and collaborations, having countless albums and eps on diverse labels around the world and performed on many events and participated at several residencies. His radio programs are broadcasted on the music radio Kanal 103 and are dedicated to contemporary electronic music, ambient, soundscape and political discourse. The artistic career involves art installations, sound and sound installations, drawings, video, photography, exhibiting on various exhibitions locally and abroad. His last participation was at the historical sound art exhibition “Audiosphere Sound Experimentation 1980–2020” at Museo Reina Sofia Madrid, curated by Francisco Lopez. He is curating the labels post global recordings and élan vital recordings. The recent professional engagements were on projects related to political analysis of media. At the moment he is director of Cultural Informartion Center – Skopje. Website: elanvital.bandcamp.com post-global.com

A five-part soundscape, Night Waters combines field recordings of relaxing waves, underwater shells, and sea birds blended with ambient strings and female voices, to create a landscape found between waking and dreaming.

Artist bio:
Cecilia Tyrrell is a Sound Artist and composer from London. Her work combines field recording techniques, ambient voice and classical instrumental textures to create immersive soundscapes and compositions that explore hidden sonic landscapes of the natural world. Her compositions have been described as mindful and lucid, crafting dream worlds that escape reality. As an avid field recordist, Cecilia embraces a mindful approach to audio creation, traveling to unique locations to record sound and resonance that would otherwise go unheard. These recordings are used throughout her work, forming a space for nature and imagination to intertwine.


Website/social links
http://www.ceciliatyrrell.com
Instagram - @ceciliatyrrell

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

A meditation on memory and loss – lost things, lost data, lost memories – and the impulse to hold onto and preserve our personal past through objects, keepsakes, mementos, words, sounds and photographs. The things we can’t bear to be parted with for fear of losing some part of ourselves.
Produced during a micro residency at Studio LOOS, Den Haag in November 2023.

Biographies:

Leonie Roessler - Composer and Performer raised in Germany and the US, now based in The Hague, Netherlands.  Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. Part of her work is purely sound-based, however the theme of marginalization has become increasingly present in her radio works. She runs the radio branch of Studio LOOS in The Hague, co-curates On Air - On Site Festival, and co-manages Iranian record label Noise à Noise.
https://leonieroessler.com/
 

Mark Vernon is a sound artist and radio producer whose work explores ideas of audio archaeology, magnetic memory and the re-appropriation of found sounds. He is a founding member of Glasgow art radio collective, Radiophrenia.
http://meagreresource.com

1) Augustė Vickunaitė - machina eterna (3:55)
2) Audrey Chen - sharpest tongue (4:12)
3) Matana Roberts - come away (5:25)
 
 
1) Augustė Vickunaitė - machina eterna
From the album DANCE ALONE

Augustė Vickunaitė is a sound experimentalist who employs vintage reel-to-reel tape recorders to play, record, and create sounds, articulating diverse layers of recordings including found material, field recordings, voice, music instruments, objects, and the whole spectrum of malfunctions of decaying technology. Auguste specializes in tape music, noise, and collage music, known for her theatrical and darkly humorous approach, often exploiting errors of analog audio equipment. Her solo work encompasses tape loops and collages of found audio tapes.
Since 2016, Auguste has been active in Europe and beyond, primarily as a solo performer, although she has collaborated with other artists too. She has self  released solo CD album “Dance Alone”.

https://augustevickunaite.bandcamp.com/
https://archive.org/details/@augustevi
https://youtu.be/bvRfxetWxvc?si=oD6ehpMPOnVorPcr
 

2) Audrey Chen - sharpest tongue

AUDREY CHEN is a 2nd generation Chinese/Taiwanese-American musician who was born into a family of material scientists, doctors and engineers, outside of Chicago in 1976. Parting ways with the family convention, she turned to the cello at age 8 and voice at 11. After years of classical and conservatory training in both instruments, with a resulting specialization in early and new music, she parted ways again in 2003 to begin new negotiations with sound in order to discover a more individually honest aesthetic. Since then, using the voice, cello and analog electronics, Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised, is completely un-processed and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of an analog synthesizer, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language.

For nearly two decades, her predominant focus has been her solo work with the voice, cello and electronics, but she has more recently, in the last four years, begun to shift back towards the exploration of the voice as a primary instrument. Aside from her solo concerts, Chen performs currently in her longest running duo project since 2005 with Phil Minton; as BEAM SPLITTER with trombonist Henrik Munkeby Nørstebø; as MOPCUT with Lukas Koenig and Julien Desprez; in duo with electronic music artist Kaffe Matthews; and as a duo for voice/live digital process with Mexican sound artist Hugo Esquinca.

Among her more recent album releases include, "By the Stream" with Phil Minton - Subrosa (Brussels), "Hiss & Viscera" with Richard Scott - Sound Anatomy (Berlin), "Rough Tongue", BEAM SPLITTER'S debut LP - Corvo Records (Berlin) and latest “Split Jaw” on Tripticks Tapes (US), her solo album "Runt Vigor" - Karl Records (Berlin) and two records with MOPCUT, “Accelerated Frames of Reference” - Trost (AT) and “Jitter”, A split release on Opal Tapes (UK) and Ventil Records (AT).

Chen has performed across Europe, Russia, Ukraine, Turkey, Australia, New Zealand, China, Japan, Taiwan, Brazil, Argentina, Ecuador, Canada and the USA. Since 2011, she relocated to Berlin, Germany from Baltimore, MD USA and continues to maintain an active international touring schedule.
http://www.audreychen.com
 

3) Matana Roberts - come away
From the album Coin Coin Chapter Three: River Run Thee 

Bloodline of Flower is drawn from poems by Forough Farrokhzad, Iranian poet and filmmaker (1934-1967). She was published and was widely read by many Iranians during her lifetime, and has now become somewhat of a cult figure. Her poetry is one of protest and rebellion, yet it captures everyday experience without any intention of guiding, educating or directing. Her poetry is the portrait of a generation undergoing radical change. In this piece, her verse lines draw songs from wavetables or modulate the breathy tones of a Ney. Only sound remains..

Voice: Carly Wijs
Ney: Arif Erkovan
Text: Forough Farrokhzad

 
Biography

I may say that I devote most of my time to matters related to sound and music. Every now and then I leave the studio and walk the streets and, if luck is on my side I wander along beaches or up mountains. I produce works that help me to understand the world and that voice my questions, discoveries or feelings which are ment to be shared with a potential audience. My way of both learning and becoming a better human being is to make music and sound narratives that describe people and their environments, where sound communicates what words fail to do.

Charo Calvo is a Spanish electroacoustic composer, sound designer and teacher, living in Brussels. After having performed as a dancer with the influential Belgian dance company Ultima Vez, she started her studies on Electroacoustic Composition in 1992 with Annette Vande Gorne at Brussels Conservatory (now ARTS2 Mons). Graduated in 1999.

From 1992 her work as composer is being developed through different media, widely diffused on international venues and festivals, dance performances, theatre, film and radio. She has received several important awards such as Palma Ars Acustica 2014 EBU, Phonurgia Nova Awards Paris 2017/2023, Prix Marulic 2018 Croatia, Grand Prix Nova Bucharest 2019/2022 and was shortlisted for Prix Europa Berlin, Hearsay Prize Ireland.

Charo Calvo has been a guest the residential program for international artists in Berlin DAAD Berliner Künstlerprogramm during the year 2017/2018.

Last concerts at GRM-INA Paris, KONTAKTE FESTIVAL 17 Berlin, Akademie der Künste, Berlin; MIKROMUSIK, Daad Galery, AUSLAND Berlin, VILLA ELIZABETH Berlin in duo with Natasha Barrett, ELECTROBELGE, Brussels, HEROINES OF SOUND 2019, EPICENTROOM, St Petersburg, CITYSONIC CINEMA, Belgium, BELGIAN MUSIC DAYS, PLEAYADES, Madrid, CCCB Barcelona

https://soundcloud.com/user-562545561

Jürgen Eckloff - Diese, Nichts & Solche - (Excerpt)

In the cold mists of the Derbyshire Peaks, beneath the leaden waters of Ladybower Reservoir, there are whispered legends of Derwent and Ashopton—the drowned villages. Once, they nestled quietly in the valley, their spires reaching upward as if in prayer. Now, the waters have swallowed them, murky and unyielding. Travellers along the reservoir’s edge sometimes claim to see shapes beneath the rippling surface: the suggestion of walls, the outline of roofs, a long-submerged memory surfacing for just a fleeting moment.

Yet there is more to these villages than stones and structures, more than just the unsettling stillness that hangs over the water’s edge. The bell tower of Derwent’s church, its pointed spire long submerged, is said to lie under the water like a crooked finger pointing accusingly to the heavens. But some nights—especially in autumn, when the mist grows thick and heavy—an echo has been heard ringing out from below the waves. It’s a faint, tremulous toll, as if the bell has not yet realised its own silencing.

Witnesses who have lingered in the hush by the water’s edge describe the sound as distant yet unmistakable, a mournful peal that stirs something deep in the bones. "Midnight bell," the locals have taken to calling it. Some say it tolls twelve times, each ring growing softer, more despairing, until only the listener’s heartbeat remains to fill the silence. They tell of a night watchman, barely more than a boy, who kept guard over the dam’s construction and swore he saw spectral figures walking along the invisible streets beneath the water’s surface. They seemed to move as if on their evening rounds, passing through half-familiar landmarks, slipping silently along shadowed paths. He claimed that, one evening in particular, he saw the flicker of a candlelight in the shape of an open window, shining dimly from beneath the dark waters.

The tales speak, too, of strange occurrences when the reservoir’s levels fall—when drought strikes and the waters recede just enough to reveal the tops of old stone walls and the fractured remnants of lanes. People have been known to venture closer, drawn by curiosity or some darker compulsion. And every now and then, one of these brave souls brings back a memento—a moss-covered stone, a shard of glass, a button—though not without consequence. There are whispers of strange dreams, of restless nights haunted by voices murmuring from the deep, unintelligible and insistent. More than one villager, I am told, has sworn to hear their name called in those dreams, a whisper rising up as if from beneath the waters.
 
To accommodate the increasing need for fresh water supplies for East Midlands residents in the early 1940’s the decision was made to build a new reservoir by flooding the two villages of Derwent and Ashopton. Residents were relocated to other areas and the new Ladybower reservoir was officially opened in 1945. Bodies from the graveyard of Derwent church were exhumed and reburied in the village of Bamford. Although most of the buildings were demolished the church spire remained as a memorial and was the last remnant of the village to endure before it too was finally submerged beneath the rising waters. To the consternation of many, on one particularly dry summer when water levels dropped the church spire emerged from the depths once more.

“At these times, locals would return to gaze at the eerie spectacle in morbid fascination, as if to remind themselves the village had once been a reality. Some swore they could hear the church bell ringing out across the waters…” *

Amidst concerns for safety the spire was dynamited in 1947 and the bell from the church was removed and later installed in the new church of St. Philips in Chaddesden, Derby in 1955 where it remains to this day. A recording I made of the Derwent bell in its new location provides the main source material for this composition along with field recordings taken around the present-day site of Ladybower reservoir.

Silt has covered the remains of the buildings of Ashopton village meaning that they will never re-emerge even in the event of low water levels. At the centre of the village was a Methodist chapel which was finally demolished in 1943. The final hymn to be sung before its doors closed forever was “The Day is Dying in the West”. Recordings of this hymn and readings of the lyrics have also been incorporated into the piece.

* Quote from ‘The lost villages of the Derwent Valley’ by Helen Moat.

 
Artist bio:
Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.
 
http://meagreresource.com

2 years ago, my father returned to his homeland Togo after 30 years. He left to set up a beer brewery 'MOYO BRASSERIE' . I had no idea if I would ever see him again. My father's life has always remained a dark stain. To my father avoiding my questions, I became accustomed as the years went by. Though frustration and curiosity about his story grew more. In January, I went to visit him for a month. Through the answers he finally gives me, I try to understand why he made certain choices and why he never wanted to talk about them. including why he decided to leave and leave us, his family, behind.
The audio documentary is set in an artisanal brewery on the warm beach of the of the Gold Coast. Together with my dad in the hammock, with his chickens, cats and his dog Moyo.

Artist bio:
Omara Poppe (°2002) is a Belgian audiomaker based in Brussels.
In 2024 she graduated with a master's degree in Radio from the RITCS School of Arts with the audio documentary ‘MOYO’ and participated in The Åke Blomström Masterclass at Prix Europa.
In 2023 she was nominated for the NTR Podcast Prize with her work Trɔ Va Tsɔ.
Meanwhile, she worked on several podcasts and audio works for museums, newspapers and the Public Broadcasting Service.
She is currently continuing her studies with a master's degree in Anthropology at KU Leuven.

Website/social links
https://www.instagram.com/o.ma.ra/?hl=nl

Many years ago I was given a bag of cassette tapes containing recordings of radio drama from German radio in the early to mid 90´s. I have wanted to use these tapes for a project for a long time. When Kunstradio asked if I wanted to make a new work for them I knew the tapes would be coming out. In the summer of 2023 I spent 3 weeks in the Elektron Musik Studion in Stockholm where I digitised the tapes. I ran them trough various processes, mainly the Buchla modular synthesisers at EMS and recorded the results, hours or recordings. These recordings have become the soundsource for this piece. The German radio dramas and the Buchla 100 & Buchla200 modular systems.     Supported by the Danish Arts Foundation

“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

Radio is still the only location you can walk in a perfect circle and never arrive back at the same spot - and perhaps the only place where the face in the mirror is never expected to present the same image twice. Working both in and outside the unique coterminous space that radio offers us, Xentos Fray Bentos presents a series of concrete possibilities designed to disrupt, delight and facilitate a seamless exchange with multiple uncertainties. Dream Escape Hatch - as we journey from the surface of the moon back to a Waitrose shelf stocked with cans of bargain baked beans, we encounter a captive King Charles, a lyrical conundrum from the days of the Fab Four and discover an opportunity to dissolve in a ribald concussion of the senses.

Artist bio:
Xentos Fray Bentos is a sound, video and radio artist, writer and occasional performer now in living in delirious exile next door to sheep and long tailed tits in the decaying British countryside  Over the last 30 years he has produced numerous collections of music and, alongside radiophonic works, has written original scripts for radio stations around the world. Currently, he is engaged in compiling the Die Trip Computer Die recording archive and transcribing selected parts of his extensive collection of writings for publication.

Website/social links
https://dietripcomputerdie.bandcamp.com
https://radioart.zone/friday-26-augustXentos

1) Mark Contreras Waiss – Icaros (9:31)
2) Millikin Composers Collective - Static Ashes (2:00)
3) Arya Adyuta - Keep Walking (4:12)
4) Rabbitsquirrel - The vibrosocial communications between a Mech and her Pilot (8:51)
 
 
1) Mark Contreras Waiss – Icaros

Ícaros is the common name used to refer to the magical and sacred songs used in traditional Peruvian Amazonian medicine. They are songs used by healers, especially the Shipibo, in healing rituals.
 
Mark Contreras Waiss, a Peruvian academic composer, has forged his musical identity from the roots of his childhood in the picturesque city of Pucallpa, located in the jungle region of Ucayali, Peru. From an early age, Contreras was immersed in an environment rich in culture and nature, sparking his curiosity to explore music to connect with his roots and the natural surroundings that surrounded him. Graduating in musical composition from the National University of Music, he has excelled in numerous international competitions and contests. His compositions have been performed on prestigious stages in Europe, the United States, and Latin America.
https://www.facebook.com/profile.php?id=100088498163053&locale=es_LA

 
2) Millikin Composers Collective - Static Ashes

"Static Ashes" is a piece derived from the poem, "Broken Record", by Karley Blau, creating an unstable and spiraling atmosphere as the final radio waves reach the end of their range. 

Millikin Composers Collective is a central Illinois-based group focused on exploring composition and arranging in many forms. Members include Karley Blau, Colton Middleton, Abi Robison, Audrey Soetermans, Sciler Treacy, and Paolo Tonelli. They study music composition with Dr. Ralph Lewis.
https://millikin.edu/college-fine-arts/school-music

 
3) Arya Adyuta - Keep Walking

This audio-piece was meant to explore the questions and meanings of walking. By composing a series of field recordings from various walks, with some accompanying music and sound explorations, I seek to problematizes and reflect briefly on my walking experiences.

Arya Adyuta is an Indonesian arts researcher and audio producer. Most of his research focuses on issues regarding anthropology, popular music, and intergenerational relationships. Besides music, he likes to listen to stories people tell about themselves.

 
4) Rabbitsquirrel - The vibrosocial communications between a Mech and her Pilot

Much of the communication that happens between machine and operator is on a vibrational or haptic basis-- the machine becomes an extension of the body, and it's feedback becomes an expansion of the understanding of self.
A trope of near-future speculation has been the powered exoskeleton, where technology extends the capabilities of the human body past its natural limits while preserving the fundamental architecture.
This piece imagines the communication that happens between a vehicle and it's pilot from the perspective of the vehicle-- a conversation that happens as vibrations and alerts that are as much felt as heard. This piece is also meant to make use of radio's unique, ubiquitous placement within vehicles-- the resonate frequencies of the drone will be attenuated and filtered by each vehicle's unique construction. The vehicle becomes part of the piece.

rabbitsquirrel is an experimental drone project out of upstate New York with a penchant for excessively long song titles
https://soundcloud.com/rabbitsquirrel
https://rabbitsquirrel.bandcamp.com/

5) Edward Ruchalski - Radio Voices (2) (8:25) 6) Silvia Simons - Snapshots from Zurich to Syracusa (10:51) 7) Dr. Quinn, Medicine Woman - Picking Trash to Save the Planet (1:07) 8) Trevor Smith - on sober things of rich mundanity (11:42)   5) Edward Ruchalski - Radio Voices (2) Radio Voices (2) was created specifically for Radiophrenia’s open call. The source material was recorded from a short-wave receiver via the Wide-band WebSDR site, University of Twente. The various beeps, noises and tones, were processed by EQ, filters, and pitch shifting. The text was created by splicing various fragments of radio interviews together. What one hears is a person’s impression of the benefits of living in a city. This piece made from radio transmitted sounds is intended for radio broadcast. Edward Ruchalski is a composer, sound artist and field recordist. His compositions have been performed at the Kennedy Center, Lincoln Center, Mass MoCA, Symphony Space on Broadway and elsewhere. In 2020, Ruchalski’s acousmatic work, “Refined Localities”, was selected for inclusion in the exhibition, Audiosphere, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. Ruchalski has been an artist in residence at Wave Farm in Acra, N.Y. During the residency he created a concept for a radio show with co-host Stephen Bradley called Bells, Bugs, Whispers & Plinks (WGXC 90.7 FM). edwardruchalski.com 6) Silvia Simons - Snapshots from Zurich to Syracusa This piece is created from some of the recordings I made with my little digital recorder over several years.  It incorporates the eery creaking of a train from Zurich winding itself up the San Gottardo before descending towards Milano; a reciting poet in the labyrinth of narrow lanes in Genoa’s historical center; snippets of the Oratorium San Filippo Neri by Francesco Rossi (born in Bari 1625), captured per chance in a church concert in Rome; sounds of a Napoli outdoor market; recordings I made inside the impressive limestone cave Ear of Dionysius in Syracusa. I did not know if I recorded anything; it seemed still, silent in that big cave. However, like an Ancient Greek oracle, when I amplified the recording, ‘voices’, sounds revealed themselves.  Recordings of my flute improvisations with the reverb of small chapels  in remote Ticino mountain valleys also found their way into the 'Ear of Dionysius'. Silvia Simons is a multi-award-winning composer, sound artist, improviser, actor and director. She majored in Theater Arts and Music Composition at La Trobe University Melbourne. Postgraduate studies followed in Early Music, Japanese Theatre and more. Having grown up in Europe, she divides her time and artistic pursuits between Europe and Australia. Her works are broadcast and performed in Europe, USA and Australia. https://www.silviasimons.com/   7) Dr. Quinn, Medicine Woman - Picking Trash to Save the Planet From Picking Trash to Save the Planet  - a spoken word and music concept EP(3-INCH CD) about the struggle between modern life and mother nature. Dr. Quinn, Medicine Woman is the unfortunately-titled solo project of Ryan Kuehn(Dead Peasant Insurance, Thursday Club, Hot Air Balloon Ride). Hailing from the musically-thriving city of Cleveland, Ohio in the USA, he has released over 50 solo albums of varying styles in the past 20 or so years, mostly on cassette and CD-R. While more often than not an outsider Synthesizer project, there are some albums that stretch out to other areas- just this year alone he has recorded a gong album, as well as his first parody album and spoken word EP! 😢 🎶 http://www.drquinnmedicinewoman.bandcamp.com http://www.thursday-club.net http://www.youtube.com/megasupernoise http://www.youtube.com/balloonytunes   8) Trevor Smith - on sober things of rich mundanity This music is designed to utilize latency, poor connection, poor visual quality, and other realities of digital conferencing and communication as a way to develop a unique musical landscape. I particularly was looking to address concerns regarding the accessibility for creation and performance within digital communications spaces, as well as the conventions of artistic institutions with financial and technical ability to control a majority of artistic programming. "On sober things..." seeks to exploit the expressive capabilities of these platforms by embracing what may be conventionally perceived as limitations and reevaluating them as instruments that succeed in evoking an authentic experience of the current technological and cultural landscape. After the project was finished, I felt the audio was successful, while the visuals were not. I believe the standalone audio is the true work, formed out of the interactions of poor connection, latency, non-locality, found objects, and poor visual contact. Trevor is a music educator, composer, theorist, and percussionist. Born in West Palm Beach, Florida, he was introduced to music through local garage rock scenes, jazz and wind bands, and contemporary percussion chamber music. His compositions and research interests are also deeply inspired by the visual arts. His music has been performed internationally and by premiere ensembles, such as the United States Air Force Band, Hub New Music, the Florida Orchestra, and Beo String Quartet. He is currently Assistant Professor of Music Theory at Tarleton State University. https://www.instagram.com/trevorjsmithmusic/

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

Per The Book of Mormon, Jesus Christ visited the Americas during the three days between his death and resurrection. While there, he (sic) ordained twelve disciples, three of which asked for and were granted immortal life. Known as The Three Nephites, they have used the last 2000 years to lead souls unto Christ, all the while remaining anonymous and evading physical harm. Since the founding of Mormonism in 1830, its members ashamedly clamor for their visitations. Less elusive than Sasquatch, these persons will generally appear to someone in comparatively dire straits and produce a miracle. Further, the Three tend to materialize and then vanish either without warning or in a spectacular manner that leaves the audience frozen - as if tasting God’s time. This project began as an historical recording of the journal of my Great x5 Grandfather, Warren G. Child, which he kept between December 1872 and Feb. 1905.

Artist bio:
Dave Madden’s (aka Tulpamancers, nonnon, dj_webern) earliest memories are Magical Mystery Tour, “Paint it Black” and the guy who claimed to be the Lizard King. He uses percussion, found objects, laptop, turntables and an obsessive bending of sound to perform all over the world, from Montreal to Chico, California, in universities, museums and coffee shops, preferring the types of crowds who enjoy John Cage back-to-back with Anti-Pop Consortium. Dave is currently focused on Nowhere Mountain, a project with photographer Mark Regester. He is also a journalist for Squidco.com.

Website/social links
 https://thenonnon.bandcamp.com/
https://www.youtube.com/@phenomenonnon
https://www.instagram.com/nononnon
https://www.instagram.com/nowhere_mountain/

Per The Book of Mormon, Jesus Christ visited the Americas during the three days between his death and resurrection. While there, he (sic) ordained twelve disciples, three of which asked for and were granted immortal life. Known as The Three Nephites, they have used the last 2000 years to lead souls unto Christ, all the while remaining anonymous and evading physical harm. Since the founding of Mormonism in 1830, its members ashamedly clamor for their visitations. Less elusive than Sasquatch, these persons will generally appear to someone in comparatively dire straits and produce a miracle. Further, the Three tend to materialize and then vanish either without warning or in a spectacular manner that leaves the audience frozen - as if tasting God’s time. This project began as an historical recording of the journal of my Great x5 Grandfather, Warren G. Child, which he kept between December 1872 and Feb. 1905.

Artist bio:
Dave Madden’s (aka Tulpamancers, nonnon, dj_webern) earliest memories are Magical Mystery Tour, “Paint it Black” and the guy who claimed to be the Lizard King. He uses percussion, found objects, laptop, turntables and an obsessive bending of sound to perform all over the world, from Montreal to Chico, California, in universities, museums and coffee shops, preferring the types of crowds who enjoy John Cage back-to-back with Anti-Pop Consortium. Dave is currently focused on Nowhere Mountain, a project with photographer Mark Regester. He is also a journalist for Squidco.com.

Website/social links
 https://thenonnon.bandcamp.com/
https://www.youtube.com/@phenomenonnon
https://www.instagram.com/nononnon
https://www.instagram.com/nowhere_mountain/