Fri 11

This piece focuses on the kind of radio most people imagine when thinking about radio: AM and FM radio. They are cheap to operate and listen to, and very much present anywhere in the world. I was fascinated by my grandfather's radio. It was a wooden box almost my size, with the names of dozens of unknown cities written on a giant dial. We shaped and reshaped radio to make voices clearer. In the process we coloured everything else. I have always loved the way the medium colours the content flowing through it. A radio transmission will face several obstacles. Variations in air pressure, poor weather, and more often than not a literal mountain. All these expose its weak points and introduce randomness and faults. But there is some comfort in the noise, and the sense of a small victory when you point an antenna to the right spot.     Artist bio:   Pedro Figueiredo is a sound artist and software developer living in the southeast coast of England. His work stems from a love of imperfections, repetition, and stillness; on the verge of breaking but not quite. He creates listening experiences and site-specific works, by bringing together warm electronic sounds, field recordings, and tape hiss. He releases music as Stray wool.       Website/social links    https://straywool.com/ https://instagram.com/straywool

The collaborative piece Ok, Well - Interesting is a language-based sound work conceived, composed, and produced by Duncan Harrison and Marc Matter during the pandemic. Far from being just another reflection on this isolated and strange period, it is a verbal and sonic rumination on communication in the age of online platforms and social media, on the listening practices of users, of genuine YouTube genres and list-like pseudo-narrative created by digital tools and services (AI transcriptions, Fiverr, data organization tools - and online videoconferencing). It proudly features guest voices Angela Sawyer, Lexie Mountain, Charmaine Lee, and Gregory Whitehead, along unknown individuals who provided their voices as a gig-economical service, and computer voices known from internet memes. While the generation of the texts and the composition implemented state-of-the-art consumer technologies, some of them seem already outdated since the overwhelming AI boom of the last years.    

Artist bios:  
 
Duncan Harrison, artist from the United Kingdom working with recorded sound, voice, text, actions, images, ideas…. Active for 20+ years, mostly within obscure experimental/noise/weird undergrounds, evidenced via activities hosted by the likes of Regional Bears (UK), Joy De Vivre (ITA), Chocolate Monk (UK), Index Clean (AUS), De Player (NL), Colour Out of Space (UK), Tusk Festival (UK, Click Festival (DK) and LUFF (CH).

“Marc Matter first came around as part of Institut fuer Feinmotorik, The Durian Brothers, diskant label and Salon des Amateurs and has been politely shoving vocal recordings through various sorts of blenders ever since." (Angela Sawyer)    

Website/social links   
https://duncanharrison.bandcamp.com/
https://futuraresistenza.bandcamp.com/album/marc-matter-could-change

Jahan Xanlü is a Swiss-Iranian-Central Asian writer and artist, currently based in Naarm. Building on his work in linguistics, they uses a linguistic lens to explore ancient tradition and mythologies and merge them with modern contexts to dream of futures that engage with the degrading ecological realities of the present. Jahan typically mixes Central Asian instrumentation with industrial and doom-metal motifs within traditional improvisational frameworks. They advocate within the internationalist community radio movement, featuring and hosting shows on HKCR, 3CR…but in contrast they often work with found objects (physically or digitally) as a means of representing the locale.     Website/social links  @jahan.xanlu (instagram)

Amongst brooding electronic drones, and discordant strings, the voice of a tree with low self-esteem tells of a tree-loving human called Franz, who leaves letters at her base and has entered her dreams of self-oblivion.      

Artist bio:  Paul Rooney is an artist based in Liverpool who makes installations, videos, and records, all with writing as their common basis. He has shown work at Tate Britain; Tate Liverpool; BALTIC; The Arnolfini; and Whitechapel Gallery; and has exhibited internationally at places such as Museo Tamayo Arte Contemporáneo, Mexico City; Centro Andaluz de Arte Contemporáneo, Seville; Kunst-Werke, Berlin; and Museo Nacional Centro de Arte Reina Sofía, Madrid. Paul Rooney’s sound work has been broadcast by John Peel (Radio 1), Ian McMillan (The Verb, Radio 3), Huw Stephens (Radio 1), Stuart Maconie (6 Music) and Tom Service (Music Matters, Radio 3).    

Website/social links  https://www.paulrooney.info/

I am writing "The Seasons" to capture the important stages of my second life. The work uses audio recordings of my travels around Georgia. They appear at the joints between recordings of improvisational sessions of my play on a broken piano in an underground passage in Kutaisi. The instrument forces me to break my own patterns, to treat playing not only as a musical performance, but also as a plastic, sensual one. All I can do is try and adapt. With almost no playing skills, no deep knowledge of music theory. Through self-acceptance and the realization that only I can make this instrument sound this way. We reveal each other's uniqueness. It is a symbiosis of two broken things. An underground passage is a transition from one thing to another. But what if this momentary frame had a sound and a duration?    

Artist bio:  
I was born in Russia in the city of Kostroma and then moved with my mother to St. Petersburg.
At 16, I got a guitar and started writing songs. I quickly stopped succeeding because I didn't like studying and thought I knew everything there was to know.
At 20, I started trying to make electronic music. Since then, I've been writing dance tracks and meta-ironic mixes.
In 2023, I emigrated from Russia and began learning about contemporary art.
As a sound artist, I am interested in the fundamental nature of sine waves and properties of music beyond its musical content.    

Website/social links  https://www.instagram.com/niki44___

The 2025/6 Conduction Series  Bildungsroman 1/3/2025 Betsey Biggs, August Black, Peter Courtemanche, Jeff Economy, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, Rodrigo Ríos Zunino, Tom Sherman     Emphasizing live radio, interactivity, and media archaeological methods, The 2025/6 Conduction Series explores themes of migration, noise, feedback, speculative fiction, transmissive theatrics, and recreational aesthetics. The collective comes together on the first Friday of every month at 3:02pm ET using custom-made software. Some sessions don't have a description and the one on October 3th doesn't have even a title. However, some have a more detail description as in The Spiral: The record groove or a strip of tape moves forward by circling, slipping into another layer each time. That coiling motion echoes how time forms paths that don’t quite repeat. The spiral frames the way patterns return at different scales, from tiny biological curves to movements that shift light, air, and weather. A shared structure keeps resurfacing and shows how things grow and reorganize, how memory drifts, and how repetition comes back slightly off axis, opening another turn.       Artist bio:  The Conduction Series is a collaborative live radio broadcast produced by sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. Artists names are: Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, and Rodrigo Ríos Zunino. The Conduction Series is syndicated on Radio MonteAudio in Montevideo, Uruguay, Radio Tsonami in Valparaíso, Chile, Radio CASo in Buenos Aires, Argentina, CITR FM in Vancouver, Canada, New Adventures in Sound Art in Ontario, Canada, and on Radio 1190 in Boulder/Denver, USA.       https://conduction.wavefarm.org/

1 Lidiia Griaznova and Sergei Komarov -Truth Table (13:12)  
2 Radna Rumping - Moving, Repetition  (13:52)    

1) Lidiia Griaznova and Sergei Komarov -Truth Table  
 
Initially, this piece was created as our contribution to the group installation "Phenomenon and Paradoxes of Information Transmission", presented as part of CYFEST: Midpoint at the Yerevan Botanical Garden (Armenia, 2025). This piece born from a long-term interest in radio subcultures, particularly cataloguing of number stations and the 1970s phone-phreak milieu, with specific attention to Evan Doorbell. Sergei’s section is based on generative FM experiments, while Lidiia’s part is constructed using an online version of the speech program SAM for the Commodore C64, combined with modular synthesis improvisations. There is an imagined unidentified number station with endless transmission where the composition evolves from fragmented polyrhythmic textures repeatedly interrupted by coded messages hidden in plain sight. It is not even necessary intended for human hearing. Only the one who recognises the message as addressed to them can fully possess it. But no one prevents eavesdropping and listening.    

Sergei Komarov is an engineer, sound artist, and curator. He co-founded the band Kurvenschreiber, develops CYLAND MediaArtLab installations as a Max/MSP programmer, and produces independent sound works. He lives and works in Yerevan. Lidiia Griaznova is an artist and designer working across publishing, sound, and media art. Her practice uses sound, archival fragments, and experimental book forms to question dominant constructions of time, space, and the body. She holds an M.A. in Curatorial Studies from Bard College and works between London and Yerevan. Since 2024, she has co-curated the CYLAND Audio Archive and the CYFEST sound program.    
https://www.instagram.com/depth_dept/
https://www.instagram.com/relational_self/

Release on the CYLAND Audio Archive, CAA-60, a live recording of how the initial installation sounded, where we shared the space with other artists: ceph, Purpurniy Dyadya, Sergei Komarov & Lidiia Griaznova, Nikita Bugaev, and the concept horse. Available for free listening on Bandcamp:  
https://cyland.bandcamp.com/album/caa-60.

Our collaborative works on CYLAND MediaArtLab website:
https://www.cyland.org/artists/lidiia-griaznova

2) Radna Rumping - Moving, Repetition  

Over and over.
Time and time again.
She has seen that shape before.
The expected still strikes unexpectedly.
Delayed response.
How do you move a feeling?

Moving, Repetition (2025) is an audio piece that takes the form of a spontaneously edited collage. A story recorded by Radna Rumping (recalled from memory) describes a group performance and the experience of navigating repeated power dynamics. This narration is interwoven with music by The Raincoats, reworked into loops by Levi Lanser. The composition is framed by quotations from Sara Ahmed’s Living a Feminist Life and Madeline Gins and Arakawa’s Architectural Body, voiced by Angeliki Tzortzakaki and Lorenzo García-Andrade.    

Radna Rumping is an Amsterdam-based artist, curator and writer. Her practice is relational and collaborative, engaging with public space, experimental archiving, forms of gathering, and conditions of (in)visibility. She is drawn to artistic practices that defy categorisation, with a special interest for performance art. Radio and sonic exploration run as a continuous thread through her work. In 2015 she co-founded Ja Ja Ja Nee Nee Nee, an online radio platform dedicated to the arts. Between 2010-2020 she hosted the radio show Future Vintage at Red Light Radio.      

https://radna.nl/
@radna

1 Adam Buffington - True Blue (for a hot mess) (12:04)  
2 Catherine Clover - City Making Practice  (3:09)
3 Miguel Antonio Contreras Hincapie – Akallabêth (18:28)

1) Adam Buffington - True Blue (for a hot mess)    

True Blue (for a hot mess) originated as a 3-minute track sampled entirely from Calibre Auto Recording discs, and was released by Brighton-based label Chocolate Monk on their compilation Calibre Five in December 2025. This newly extended version excavates the same sources to generate a slowly cascading series of samples that congeal to form a washed-out mesh of jittery pops and oscillating chants. By utilizing a minimal set of material, True Blue (for a hot mess) generates a suspended yet stirring mood.    

Adam Buffington is a composer and musicologist traversing the boundaries between practitioner and scholar. Specializing in contemporary art and music in Iceland, his research focuses on issues concerning interdisciplinarity, transnationalism, historiography and aesthetics. His artistic practice, rooted in musique concrète and DIY underground aesthetics, is an ongoing exploration of memory and identity’s entanglements with material and sonic culture. His sound work has been released on labels such as Chocolate Monk, Industrial Coast and VEC Audio.

Buffington earned a Ph.D. in Musicology from The Ohio State University in 2020, and is currently based in Reykjavik, Iceland.    

https://adambuffington.com/
https://adambuffington.bandcamp.com/
https://www.instagram.com/adam_buffington/

2) Catherine Clover - City Making Practice
 
This field recording is an informal participatory voicing based on the songs and languages of five migratory songbirds, the Common Reed Warbler, Spotted Flycatcher, Swift, Chiffchaff and Blackcap that migrate between the capital cities of London, Windhoek, Lilongwe, Lusaka, Dakar and Addis Ababa, all shaped by British and European colonialism. The event took place in the Camley Street Nature Reserve in Kings Cross, London. The workshop was part of Quiet Urgency, a symposium in 2024 organised by Gascia Ouzounian, John Bingham-Hall and Diana Ibáñez López (Soncities x MA Cities, Central St Martins) that considered the need for new frameworks of sonic urbanism that can work with, amongst other urgent urban issues, the more-than-human world and its vitality, without silencing or controlling it.     
Catherine Clover’s multidisciplinary practice addresses communication through voice, language and the interplay between hearing/listening, seeing/reading. Using field recording, digital imaging and the spoken/written word she explores an expanded approach to language within and across species through a framework of everyday experience, including the use of extant material and found footage. With listening as a key focus and the complexity of the urban as a shared sonic space, the artworks prompt transmission and reception through the fluidity, instability and mobility of voicing and languaging. The artworks are social in nature and frequently involve collaboration with other artists and with audiences.    
 
http://www.ciclover.com/main.html

3) Miguel Antonio Contreras Hincapie – Akallabêth

"Akallabêth (The Downfall)" is a sound art piece that draws a powerful analogy between the fall of Númenor —the myth of pride and ruin recounted in The Silmarillion— and contemporary socio-natural disasters in Venezuela. The work builds an auditory cartography of the crisis, where the sounds of torrential rains, landslides, and affected communities blend with discourses of power and narratives of geopolitical aggression. This composition creates an immersive atmosphere that investigates the relationship between human greed and extreme climatic phenomena. From a non-hegemonic perspective, the piece invites reflection on the invisible forces —social, political, and environmental— that, acting like a collapsing system, precipitate the fragmentation of territory and memory.    

Miguel Antonio Contreras Hincapie develops a transmedia artistic practice focused on sound art and expanded poetics. His sculptural research and dual training underpin a critical approach to the body, space, and narrative. His award-winning work unfolds through hybrid strategies, from museum installations to urban interventions. He has participated in international festivals such as Sur Aural, Tsonami, the Encontro Latino-Americano de Arte Sonora, and Punto y Raya. In 2023, he deepened his research through residencies at Lab Productora (Argentina) and Art Session Innopraktika (Russia), exploring intersections between the physical, the digital, and the situated    

https://machsculptures.com/
https://www.instagram.com/miguelcontrerasescultor/
https://www.facebook.com/miguel.contrerashincapie?locale=es_LA

1 Marc Perez - Sounding My Voice (7:06)    
2 Tom Williams - Of Clouds and Clocks (10:48)  
3 Yuna-lee Pfau - isopod smoke (17:00)
4 Michala Henderson - Rehearsal for Company Phantasmagoria (2:03)      
5 Simon Opit - slowly closing aperture (21:40)
6 Paul Collins - Radio Spots - While They Last (1:00)

1) Marc Perez - Sounding My Voice

This is a piece surrounding the concept of communication barriers and the lack of accessibility that tends to exist not only in the teaching of language but in attempting to understand individuals as well. There is a process of unlearning here, unlearning to sing, unlearning what is pleasing to the ear & unlearning the focus on "I".      

marc perez is a west coast based composer, performer, improviser, author, curator and organization leader whose work is concerned with freedom of agency, interdisciplinary arts & improvisation.      

https://marcperezmusic.com/
instagram@mapmusiq or @marcperezmusic

2) Tom Williams - Of Clouds and Clocks

This acousmatic composition explores the conceptual tension between orderly determinism and the irregular, indeterminate realm of ‘clouds,’ drawing on the philosopher Karl Popper’s metaphor of ‘clouds and clocks’ and its musical reimagining in Ligeti’s Clocks and Clouds (1973) for chamber orchestra and choir.Translation operates as a guiding principle—moving between philosophical constructs and sonic experience, and transforming the mechanical precision of a clock into diffuse, spatially articulated sound structures. The work unfolds in a single movement articulated in two contrasting parts: an opening section dominated by cloud-like textures—formed through processes of granulation and spectral diffusion—followed by a second part where clock-derived materials assert greater clarity and rhythmic presence. The town clock in New Bern, North Carolina, provides a recognisable point of reference within a sound world otherwise shaped by obscured metallic and environmental resonances, their identities dissolved into atmospheric ambiguity. Through this interplay, the piece proposes an experiential continuum where temporal    

Tom Williams has composed music for acoustic and electroacoustic media since the 1980s. His work appears on Kitchenware, TEM, Cuillin Sound, and Albany Records, and has been featured at major festivals including ICMC, ACMC, SEAMUS, NYCEMF, SICM, Futura, and Sonorities. His music has also been presented at SABRE (Zurich), CMMR São Paulo, Music+Sound, and broadcast on BBC Radio 3. Williams has received awards from ALEA III Boston and the Città di Udine Medal, and was nominated for an Ivor Novello Award in Sound Art. His 2023 acousmatic work Piano Trace won the Special Prize at the 4th Ise-Shima Competition. He    

https://tw-hear.com/

3) Yuna-lee Pfau - isopod smoke
   
Isopod smoke is an audiobook that takes the listener on a sonic and lyrical journey through the landscapes of the Estonian oil shale industry.
The naration is based on a travelogue by the artist that combines their personal experience of their visit with theoretical thoughts and questions about oilshale extraction through following the symbolic figure of an isopod.      

Yuna-Lee Pfau is an interdisciplinary artist from Cologne who explores landscapes and marginal zones in their audiovisual video essays and installations. Yuna's central interest is how human-caused disturbances affect native ecosystems and how the network of multispecies stories can be narrated without centralizing the human perspective. They approach this question by combining documentary and fictional methods, which are transformed into videos, soundpieces, installations, and texts.

https://www.yuna-leepfau.com/

4) Michala Henderson - Rehearsal for Company Phantasmagoria    

An ambient track recording a stage performance rehearsal of the fictional theater troupe Company Phantasmagoria. Set in 1913 London, the Company puts on movies, stage performances, and recitals that are Horror themed. This audio piece is connected to a greater Visual Novel game concept-project that is currently in development.    

MaylaMuse (Michala Henderson) is an Atlanta based artist specializing in Illustration and concept design. She has received a Bachelor of Fine Arts from the University of North Georgia, with experience in both digital arts and acrylic painting. Mayla enjoys being involved in current pop culture scenes via social media and vending as an artist at regional conventions for the past several years. Her professional work focuses on the creation of diverse characters with heavy theming, vibrant environments, and whimsical scenes. She is the creator of Company Phantasmagoria, a visual novel game concept.    

https://www.instagram.com/maylamuse/

5) Simon Opit - slowly closing aperture

Field recording based soundscape exploring a narrative of neglect, loss and the problematic coexistence of the human and non human. Our shrinking and denigrated natural habitats offer less and less. And with it, our attentive practices and especially that of listening. Our imaginative horizons are growing dimmer. Our collective memory grows weaker. The slowly closing aperture of my life can draw little solace from the lengthening shadow.    

Sound artist originally from Australia but living in Scotland for 25 years having spent even longer exploring its high and empty places.    

https://simonopit.bandcamp.com
https://immaterialmountain.bandcamp.com

6) Paul Collins - Radio Spots - While They Last

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

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

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

updaten tracken alignen
what an infinite jest! I AM. AM I AI?
as users of the digital universe
the consensus of try and error is part of real life.
every user is in charge of its own success
to navigate through the virtual universe.
well, take a seat and get used to your own failure.
bouger inhale reboot
penser une altérité.
welcome to our world full of feedback loops
as your own personal guide
for a whole déjà-vu experience!    

Artist bio:  
MME dUO are Patricia Koellges and Tamara Lorenz (since 2016).
With partly invented instruments, voice and electronics, MME dUO is on field research into fragmented language and sound collage. Set pieces of spoken words become signals, atactic accents form repetitive rhythms. A continuous run in dis and harmony with connections to ‚Musique concrete‘. MME dUO are Patricia Koellges and Tamara Lorenz, both also part of the former artist collective Sculptress of Sound (makiphon).    
Website/social links  http://www.mme-duo.de

Kelvin River Walk is a site specific sound collage created while walking along a stretch of the River Kelvin in Glasgow, made for the Radiophrenia Open Call 2026. The piece weaves together improvised conversations between Rita Pacheco and Harry Irvine about global warming, mass extinction and the climate emergency, while also reflecting on childhood experiences of religion and the relevance of spiritual ecology. Both are free improvisers, musicians and poets, contributing spoken poems, field recordings, instrumental textures and sung passages, all captured on a TASCAM recorder or, occasionally, a mobile phone. They mention David Abram’s The Spell of the Sensuous and incorporate quotations from Rainer Maria Rilke and Gary Snyder, echoing the book’s ecological philosophy. The resulting experimental composition is an intimate, thought provoking conversation that situates sound, poetry and ecological reflection in dialogue with the river’s more-than-human lived environment.    
Artist bio:  
Rita Pacheco & Harry Irvine are Glasgow based free improvisers who explore sound together. Their practice blends spontaneous composition, field recordings and spoken poetry, turning everyday objects and natural surroundings into collaborators. In 2025 they recorded an album that captures their emergent, process driven dialogue. They share a studio in the Outerspaces network, using it for experimental sessions. In the latter half of 2026 they will host gatherings exploring connection through play and sound making, complemented by nature walks, food making and film screenings that invite reflections rooted in curiosity and respect for the more-than-human and the Living Earth.    

Website/social links  
Rita Pacheco - http://www.ritapacheco.net + @collagedrawing
Harry Irvine - https://bigfuss1.bandcamp.com/music

1 Ilaria Boffa - +1 (5:17)
2 Yasmeen Al-Qaisi - May my tears moist your salt, Dead Sea (12:22)
3 Tristan Rhys Williams - Llech-Tal-Môn (Lôn y Bwbach) (14:42)

1) Ilaria Boffa - +1  
 
This work is a collaboration with Italian musician Marco Lucchi and the sonopoem is a practice of Listening Across Species & more-than-human beings. How would we feel if we embodied others’ bodies?
Sonopoem by Ilaria Boffa, music by Marco Lucchi.
Ilaria Boffa is an Italian bilingual poet and sound recordist. She has published four poetry books to date and her work was included in the 2018 NeMLA Publication ‘Writing in a Different Language’. Her sono-poems, combining poetry and field recording, have been played at international poetry film festivals and radio art events. She is a permanent member of EAPS poetry and sound art collective and in 2025 she performed an experimental poem with the Swiss theatre group ‘Collettivo Treppenwitz’ at LAC Lugano. One of her sono-poems is part of a permanent sound installation at the Pitt Rivers Museum in Oxford/London.      

 https://linktr.ee/ilariaboffaIB
 https://soundcloud.com/ilaria_boffa
 https://www.instagram.com/ilaria.boffa/
 https://soundcloud.com/marcolucchi
 
2) Yasmeen Al-Qaisi - May my tears moist your salt, Dead Sea

Synopsis of piece:  In the centre of this underwater sound fable is a shāʿir’s melisma in a hammam in Ottoman Istanbul, who does everything possible to get in the hammam at night so he can mourn the future loss of Dead Sea. He manages to enter the hammam by walking in the city at night without a torch which was an act punishable by night patrols with forcing one to work in the furnace. The furnace worker helps him sneak into the bath-house to mourn. While singing the melisma and the words Baynans 3ysh wa millh بيننا عيش و ملح "We have shared bread and salt", the poet’s tears drop in maqam rhythms. While walking out of the hammam, a pair of Desert owls become the confirmation that his cry is heard. The shāʿir foresees our murderous geopolitical present: the diversion of Jordan River and potash extraction in the lowest place on earth.    

Sound design for fire and water music: Will Kent-Daggett
XC395906 and XC781536 - Desert Owl - Strix hadorami on xeno-canto.com

Yasmeen Al-Qaisi (frequently misspelled) is a poet.      

https://jasminescu.com/

3) Tristan Rhys Williams - Llech-Tal-Môn (Lôn y Bwbach) 

One of two companion ambulatory sound works on Ynys Môn, designed as slow walks through landscape, listening, and deep time. Hauntological in character, they approach place obliquely—through echoes, textures, and residues rather than clear narrative—treating movement itself as the work’s focus. The pieces are distinguished by their recording sites: Lôn-y-Bwbach near Llanddyfnan, layered with historical and folk memory, and the beach below Castell Mawr at Traeth Coch, where tides, river flow, and birds shape an exposed acoustic field. Across both, field recordings intertwine with the artist’s compositions and worn fragments of Welsh song, appearing like eroded sonic artefacts. The shared title draws on the myth of Llech-Tal-Môn as preserved and elaborated by Wil Ifan o Fôn in Bonedd y Cymru neu Lyfr Hynafion Byd, which describes an ancient cave system imagined as secretly linking road, farmland, hill, and coast—an unseen subterranean architecture mirrored in the works’ shifting, tunnel-like sound world.    
 
Tristan makes soundworks based on the psychogeographic charge from Ynys Môn (the isle of Anglesey). They work towards a ritualistic, degraded aesthetic informed by the elements and ancient sites in the environs. Recent works have appeared on the ‘Listen to the Voice of Fire’ collections: ‘The Shining Pyramid’, ‘The Surface of Past Time’ and 'Dylan Eil Ton'. Discreet Archive released YrbrydMôn in 2025 and Tristan collaborated with poet Rhys Trimble on the album Ynys Dywyll released by Ty Cerdd.      
https://tristanrhyswilliams.com/
https://www.instagram.com/trissyrhys/

1 Paul Collins - Radio Spots - Figures Rythmiques (1:00)
2 Wolfgang Pérez - I AM TRANSFORMING (5:02)
3 Ellie Cherry - We All Became Moss (8:30)
4 KAZUYA ISHIGAMI - Beyond Houge Houge-Jaku (6:58)
5 Sooji - First Loves #1 - Gisele she walks, she floats (4:39)

1) Paul Collins - Radio Spots - Figures Rythmiques

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

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

https://www.instagram.com/paul___collins/
https://soundcloud.com/paul-collins
https://www.generalhardware.ca/paul-collins
https://www.michaelwoolworth.com/paul-collins/


2) Wolfgang Pérez - I AM TRANSFORMING

In a Workshop with the great Meredith Monk I received the following task: "Choose any form from the outside world that strikes you. It can be natural (for instance, a tree) or manmade (for instance, a building). Take a picture of it. Study its structure. How is it put together? What are its units? What is the relationship between the units and the whole? Use that structure as a template to compose a 3-5 minute piece." This is the result. I took a photo of beautiful cliffs in Portugal (Aljezur) and was inspired by how they look like frozen waterfalls. They look static, frozen in time, but really they are always transforming, shaped by the waves - over millions of years - deep time sedimentation.

I carefully chose 6 notes on my Juno 60 each one entering after 30 seconds + some harsh piano attacks to symbolize the heavy waves.    

Wolfgang Pérez is a half-German, half-Spanish songwriter, arranger, and guitarist from Germany, currently based in Cologne. With three albums released - WHO CARES WHO CARES (2021), AHORA (2024), Só Ouço (2025) - Wolfgang made his way into stages such as Moers Festival and the Cologne Philharmonie. He experimented with different formats and styles in his career, mixing pop, chamber music and soundscape composition. More recently Pérez has been diving into the rich Brazilian culture in his last endeavour - “Só Ouço”. The album has been critically acclaimed with Reviews in The Wire, Mojo Magazine and NPR Music.    

https://wolfgangperez.bandcamp.com/album/s-ou-o
https://wolfgangperez.bandcamp.com/album/memorias-fantasmas
https://www.youtube.com/watch?v=bx2lc3olcHM
https://www.instagram.com/wolfgangperezmusic/
 
3) Ellie Cherry - We All Became Moss

"We All Became Moss" is a soundscape created entirely from field recordings gathered in the Scottish Highlands. Rather than present the field recordings in their literal forms, I wanted to shape them into something more representational of the abstract emotional landscapes I often find myself wandering when returning to memories of the mountains. Shapes shift; emotions blur. Flora, fauna, my flesh, and the ferns all dissolve into something old and strange.      

Ellie Cherry is a composer and sound artist whose work is a surreal amalgam of acoustic and
electronic elements that explores the nebulous spaces between reality and perception. Fascinated
with the microscopic subtleties of natural phenomena, her artistic practice incorporates found
sound and improvisation, embracing the duality of acceptance and control, questioning notions
of ownership and exactness in how we create and experience sound.    

https://www.elliecherrymusic.com/

4) KAZUYA ISHIGAMI - Beyond Houge Houge-Jaku

"Houge-Jaku" means to throw away one's attachments. "Houge" means to throw away. "Houge Houge-Jaku" means to throw away "Houge-Jaku".
In order to live comfortably, we should not be attached. However, if we are too concerned about not being attached, we may end up becoming attached to it.
Furthermore, beyond attachment, where do we go?
    
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.    

https://soundcloud.com/kazuya_ishigami
https://kazuyaishigami.bandcamp.com/
https://neus318.bandcamp.com/
https://omodaru.bandcamp.com/

5) Sooji - First Loves #1 - Gisele she walks, she floats
 
First Loves #1 is recorded on the Sequential Prophet VS from 1986. It is a series of vignettes derived from improvisations from a single session, a brief dive into the capabilities of this instrument and was the precursor to First Loves: Sequential Prophet 10, released in 2022.
 
Sooji is a Naarm-based musician creating works that explore adventurous sonic territories through performance, composition and spatialised sound installations. Working primarily with synthesisers and electronics, she embraces the unexpected outcomes that arise from collaboration and improvisation.
Influenced by diverse sources such as classical music and Italian electronic composers, Sooji’s intuitive approach to composition creates works that sit outside of traditional genre classification and often manifest as surreal sonic landscapes.    
 
https://eternalmusicprojects.bandcamp.com/

Neolithic Cannibals is a socially engaged sound art project explored through the deep time history of Neolithic sites.  Simon originally co-created the project with education equality campaign group Class Divide and young artists in Whitehawk for an exhibition at Brighton Festival 2024. For this second iteration, Simon shared his practice on the Neolithic causewayed enclosures and barrows of Eastbourne, working with young artists to listen deeply to the unheard through a series of sound workshops in August 2025. The material gathered through experimental fieldwork sessions was sequenced live for this radiophonic collage and includes field recordings and fragments of a pop up spatial sound installation, a flint knapping demonstration, poetry and stone drum machine workouts.      

Artist bio:  
Simon James is a self trained artist from a working class background listening to the unheard and underheard. On this project he collaborated with Vanessa, Mollie, Corey, Daisy, Jess, Kitty, Harper and Florence.

Features the voices of flint knapper Grant Williams and archaeologist Steve Patton.

Co-prodruced with The Devonshire Collective. Supported by the National Trust and the Changing Chalk Community Grants Scheme, and funded by The National Lottery Heritage Fund, with thanks to National Lottery players.    

Website/social links  
Insta @thesimonsound
Web - http://www.simonsound.co.uk

The closure of Gruv 7 mine in Arctic Svalbard in June 2025 ended a century of coal extraction on the archipelago. Just before the final shift, the Svalbard Museum’s Anatolijs Venovcevs and Haakon Unhammer Kvaale negotiated access and the miner Tarjei provided an expert ear. Deeper underground the tunnels got lower and the temperature dropped, each three-hour trip was experienced in a pulsing red zone of intensity yet I was only recording the edges of things - not working there for 10 hours straight on fourteen-day shifts with responsibilities for my own and my co-workers' safety. The sheer ferocity of the environment frequently defeated my field recording abilities, often too panicked to focus on the microphone or the recorder settings, these recordings of the six (or seven) conveyor belts clip and distort, surge, falter, harshness that contrasts with several conversations that share knowledge, care, awe and occasionally laughter.      Artist bio:   Angus Carlyle researches environments and atmospheres as embodiments of stress and relief, with listening becoming writing, recordings, photographs and films (and rarely performances). He often works alone but also shares creativity : since 2011 he engaged with Kozo Hiramatsu and Rupert Cox on projects related to civilian and military overflights; between 2005 and 2025, he collaborated with Cathy Lane and others on the Creative Research in Sound Arts Practice (CRiSAP) research centre; since 2021, he explored the Shoreham coastline with Simon James; and he worked with Katrin Losleben, Za Barron, Paula Ryggvik Mikalsen and Britta Sweers on Arctic Auditories.     Website/social links  anguscarlyle.com @anguscarlyle

An Exercise in Analysis is an electronic operatic setting of a 1917 play by Gertrude Stein. The play resists easy explanation, using fragmented, repetitive language and unconventional structure--numbered "Acts" and "Parts" instead of specific characters--that challenge traditional notions of dramatic presentation, thus forcing the reader to experience Stein's writing process itself. Here the reader must use "causal, semantic, and reduced listening" (see Michel Chion) to engage Stein's stream of consciousness--shifting contexts, changing voices, double entendres, and erotic word play, rather than being passive recipients of dramatic "meaning." My librettist Adam Frank made a treatment that used four actors performing the play, recorded on four separate audio tracks. I then took up the task of transforming their "speech" into "song" using analog and digital sound processing, including vocoders, pitch shifters, and pitch correction. As to what it means, I refer you to Stein's own words: "I have given up analysis."   Artist Bio: Traversing classical modernism, experimental music, progressive rock, free jazz, and post-techno electronica, Warner's musical career has militantly transgressed musical boundaries. After starting out as a drummer in garage bands, Warner decided to become a composer upon discovering Edgard Varèse through the early music of Frank Zappa. He attended Princeton University, earning an M.F.A. and Ph.D. in computer music and composition with Milton Babbitt and Paul Lansky, and experimental music and improvisation with J.K. Randall. Warner has studied, taught, and performed widely in places such as NYC, Helsinki, Buenos Aires, Rome, Aarhus, Denmark, and most recently at CalArts in Los Angeles.   danielwarnercomposer.godaddysites.com

Knot knits ideas around laboured language with moments of affective rupture—encounters where the material world and the sensing body come up against each other in unexpected ways. Working with voice, field recording and sound synthesis, we hone in on speech and sound as rhythm, depth and distance. We are interested in strategies of repetition, in the echo, the copy, the cast, the rehearsal, the mimic, the parrot, the ape. We are curious about the spatial and affective relationships of the copy–how intimacy and distance, attachment and detachment co-exist there. And in its time, too, in how it comes to be a kind of asynchronous conversation, with its own boundary-maintaining tendencies and commitments.     Artist bios:     Rebecca Wilcox lives in Glasgow and works with writing, audio and performance, often using voice as a tool. She's interested in apperception, infrastructures and the poetics produced between sensory engagements and the written and spoken word. Hannah Ellul is a Glasgow-based artist and musician working across forms, mostly in sound, publishing and performance. She often works collaboratively, including as part of the project Psykick Dancehall, which produced cross-disciplinary explorations of sound and aural experience with other artists and collectives. Together they have produced work for Broadside Gallery, Glasgow; Experimental Sound Studio, Chicago; BBC Tectonics Festival; Takuroku; and Radiophrenia.     Website/social links  hannahellul.com

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day  - Lazaretes iela II  (2:03)
2) Vanessa Rossetto - de geest (8:17)
3) Amble Skuse - All Who Are Weary and Heavy Laden I Will Give You Rest  (10:47)
4) Sophie Sleigh Johnson - Bishop Ooze (1:35)
5) Tony Morris – Dark red id (1:00)  

 
1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day  - Lazaretes iela II  
This "catalogue of noisy swing recordings" is an expanding catalogue of recordings that capture noisy swings co-created with Ada Ruszkiewicz. The catalogue is made up of several dozen sound recordings featuring squeaky, creaking, screeching or otherwise noisy swing sets. The reasons for swing noise are various – loose connections or fasteners, aging of the materials used in the construction of the swing, weather conditions affecting them, as well as the load and overload to which the swing is subjected. Although most of the recordings feature swings that only minimally differ in terms of mechanics, construction and materials used, their noise is never identical, providing a sound testimony to the environment in which the swing is placed. Swinging, photos – Ada Ruszkiewicz; Idea, recording, editing and mixing – Ernests Vilsons.

Artist bio:  Ernests Vilsons is a Latvian composer living in Rīga. He writes music for acoustic instruments and electronic means, creates sound installations and performances, and collects field recordings. He is interested in harmony, time, silence, chance, representation and transcription.
E. Vilsons studied at the Institute of Sonology at the Royal Conservatoire in The Hague. His master's research project “Well-Structured Vocalizations: An Attempt To Imitate Birdsong” was awarded the Konrad Boehmer Foundation Prize in 2020.
https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s
 
2) Vanessa Rossetto - de geest 
 
From the album 'The Professional'

Biography:
Vanessa Rossetto is an American composer and chipper-shredder, processing whatever sounds cross her path into sprawling, long-form narratives. Trained as a painter, Rossetto began working with sound in 2007 as a way to incorporate the element of time into her work. If you have met her, she probably recorded you.
http://www.musicappreciationrecs.com/
https://vanessarossetto.bandcamp.com/
 
3) Amble Skuse - All Who Are Weary and Heavy Laden I Will Give You Rest    
 
Amble and Bosko explore what burdens we carry as disabled people. Bosko picks up burdens in the form of stones, weighting down his body and transforming his movement and physicality. We recorded Bosko moving rocks on a beach, dragging them to the shore. Using body sensors, Bosko's movement blends a series of audio interviews and videos on the theme of burden, weight, disability and mental health.    

Artist bio:  Amble is a composer and sound artist who uses disability theory, body sensor technology, spoken word interviews and electronics to create unique sound works. She is interested in the interface between the disabled body and the exterior world, and has explored this through numerous sound walks using her wheelchair. Amble is a Royal Philharmonic Society Composer 24/25, recently won a Special Commendation Daphne Oram Award for her work in electronic music, and was selected as Scotland’s representative for the International Society Contemporary Music Festival 2024.    
http://www.ambleskuse.net
 
4) Sophie Sleigh Johnson - Bishop Ooze 
 
From the album 'Nuncio Ref!' - the first-baked tape works of one Sophie Sleigh-Johnson.

A collection of tele-vision canticles and psychic reportage from the bleary shores of Southend, featuring hotly anticipated fragments from the unearthed transcript of Leonard Rossiter’s lost Mystery Play.

As Rogation Ceremonies became obligatory again, the main technical problem was Bishop Ooze tracing time on damp walls: so, might these same tracks yet index the whereabouts of Mr. Prance, DJ?

And lo, from the rumblings of this grim chorale, you’ll get your fair share of the Reel Artikel, as much an inflammatory Kelp Pit Synod as the apostate’s mandate to walk in Big News.

Holsten?
 
5) Tony Morris – Dark red id

Tony Morris has been a fixture on the Glasgow underground music scene for the past several years and dabbles in most of the genres that typify it: from the avant garde to dance music. He sees himself as a kind of deviant cabaret artist who spills his guts on stage to a soundtrack of electronica. Being 73 years old, he has listened to an awful lot of music in his time and channels those memories into his act which is a compendium of tropes from Ready, Steady Go, Chicago blues clubs, his own dreams and whatever venue he happens to be playing in. He specialises in 1-minute duration ‘kind of’ songs – often with accompanying videos. There are hundreds of them on his Instagram account. This is one of them.

Tony Morris will be performing with his leaf blower as part of our live-to-air performances on Saturday, the 19th September. Tickets available through Eventbrite – see the Radiophrenia website for more details.
https://www.instagram.com/tonymorrisssss/

I love spending time at home. For nearly 10 years now, right in front of our house has been a forest of evergreen broad-leaved trees in the satoyama. I can observe the lives of creatures other than humans there. During the rainy season, moss clogged our gutters, and the sound of raindrops falling through them began to create an unpredictable rhythm. I played the electric piano in my room while listening to the rhythm of the raindrops. My family recorded it on Zoom. When the “Higurashi” cicadas start chirping, the rainy season ends. It’s always like that. Collecting the sounds of my home and jamming with them soothes my sound-filled mind. The snoring of a friend who sleeps well at our house sounds like a didgeridoo player offering a prayer for a good night’s sleep. There are moments like my solo performance at YoshimiO at Shiso-kan, a place dear to us. And sometimes I go to a studio with people I trust and pour out my desire to bring all these sounds together. I love singing while channeling my breath through a flute—sometimes a KHEAN, sometimes an ARGOZA.

わたしたちの家で過ごすことが好きです。もう10年ちかく家の目の前には里山における照葉樹林の森があります。人以外の生き物の暮らしを観察することもできます。梅雨のあいだ、家の雨どいに苔がつまり、雨どいを通って落ちる雨垂れ音は予測のつかないリズムを刻みだしました。うちの雨垂れビートを聴きながら部屋の中でエレピを弾きました。家のひとはZOOMで記録しました。ひぐらしが鳴き始めると梅雨はおわります。いつもそう。家の音の収集とその音たちとのセッションは音にあふれたわたしの脳を癒します。うちでよく寝れた友人のいびきは良き睡眠がとれますようにと祈りのディジリドゥー奏者のようです。わたしたちの大事な場所、四三館でのYoshimiO solo演奏など。そしてときどき気の知れたスタジオにいき、それらをまとめたいという想いを吐き出します。わたしはわたしの呼吸を笛に通しながら歌うことが好きです。ときには KHEANに、ときにはARGOZAに。

YoshimiO _ Voice, Ereki Bass Tanpura, Keyboard Synthesizer, Electric Piano, Effects, Khean, Argoza, Minmin, Percussion
HAMA _ Reyong, Gangza
Kawamura Kohey-Sai _ Gangza
Engineered by Kabamix
Sound collected by Ooido Syoujou
mixed by YoshimiO
big thanks to shisokan ”四三館”
 
A Radiophrenia commission produced with the support of Creative Scotland.

1.   THE VOICE FALLING UPON REYONG (5’22)
2.   GANGZA PASSED BY (5’25)
3.   A BIG MARIMBA CARRIED BY. (3’45)
4.   THE HOUSE OF HIGURASHI. (5’27)
5.   THE SHISOKAN. (3’40)
6.   INORIBIKI (1’28)
7.   ALONG WITH THE RAINDROPS_#1. (3’22)
8.   ALONG WITH THE RAINDROPS_#2. (4’48)
9.   ALONG WITH THE RAINDROPS_#3.  (2’53)
10. ARGOZA GLIDES TO THE RAINDROP BEAT (3’06)

https://shochy.bandcamp.com/
https://www.instagram.com/emeraldragonfly/?hl=en

Core de Mamme (Mother's Heart), is synonymous of nurturing motherly love, but sometimes is used ironically...
This hilarious Audio Drama takes place 70 year ago in a small southern Italian rural village.
A widowed mother praises her only daughter as virtuous and dedicated housewife.
The woman, very proud of herself, tells a lady neighbor how, with the help of the priest, she arranged a wealthy marriage for the girl in spite of their limited means.
The nosy neighbor is obviously very interested in knowing all details, and inquires about the whole negotiation. Only afterwards, with the nonchalant ease of an experienced gossiper, she reveals to the poor mother that everyone in the village knows that the marriage must be celebrated but only because her “virtuous” daughter is pregnant.   
 
English translation:
https://radiophrenia.scot/wp-content/uploads/2026/07/Iride-Project-Core-de-Mamme-English-translation.pdf 

Artist bio:  
Monica Miuccio & Massimo Daví began IRIDE PROJECT in 2013. Their electronic and audio drama works have been performed in Ireland, Italy, Mexico, Spain, Macedonia, United Kingdom, Finland, Germany, Czech Republic, Portugal and Ecuador in form of acousmatic performances and radio broadcasts. Monica is a performer and writer, her literary works have been awarded in various literary competitions and published in prestigious editions such as the Psychology magazine “Tecniche Conversazionali” (Milan, IT). Her scripts, poems and tales are the core of IRIDE PROJECT Audio Drama production. Massimo is a pianist and electronic/electroacoustic music composer.    

Website/social links   
https://irideproject.bandcamp.com/
https://www.amazon.com/music/player/artists/B098KJDTGT/iride-project
https://www.facebook.com/irideproject/

1 Tara Guram - Coral Reef (12:46)
2 Norhan Hawala and Max Levin - Silence (3:48)    
3 Paloma Klisys and Cíntia Molter - Frecuencia3_Triad_II_Piece_I (10:12)

1) Tara Guram - Coral Reef

i: Shimmer, 2: Jellyfish (1:31), 3: Shoals (2:30), 4: Bubbles (3:31), 5: Sea Statues (5:34), 6: Undercurrent (6:58), 7: Pulse (9:14), 8: Sky (10:40)            

I prepared my piano inserting blu-tack between its strings.  
The intention was to create a muffled, underwater soundscape, completely submerged from the world above.  
The core material (Shimmer, Shoals, Sea Statues, Pulse) elicits the muffled shimmer of the shallower waters of the coral reef.  Suffused light, the delicate movement of flora and fauna, and the gentle playfulness of the waves are depicted by the rhythmic drive and melodic figures used.
The other four pieces involve extensive electronic manipulation.
Jellyfish wobbles like the transformational movement of the jellyfish.
Bubbles evokes a deep-sea dive, with the pitches popping like bubbles through the background “breathing”.
Undercurrent has a sinister feel depicting the frightening, immense power of the ocean.
Sky is a meditation. It has “glints” of sound, as if lying on the coral bed, watching the sun glinting in and out of focus through the clouds, and subverting lens of the water.  
     
Initially a geneticist, Tara Guram (b. 1971) was subsequently a prize-winning postgraduate composition student at the Royal College of Music. Her music has been played from the Southbank Centre to Carnegie Hall, and has been broadcast by the BBC, and by television and radio stations worldwide. Guram’s pieces have been recorded and released with Sargasso Records, Navona Records, Ravello Records, NMC Recordings and Media Tracks.    

https://www.taraguram.com

2) Norhan Hawala and Max Levin - Silence 
 
Silence is a track made in collaboration between Norhan Hawala in Cairo, Egypt and Max Levin in New York, United States during early covid. The collaboration relied on correspondence via email and other social platforms and based on a fresh friendship that was established right before the pandemic hit in Washington DC before the two collaborators' unexpected departure from the city. Both were dealing with unfamiliar kinds of grief and navigating the isolation of early covid that left a lot of room for reflection. After long conversations, Max shared a track that he's been working on , Norhan improvised and recorded Silence in a one improvisational session and sent it back to Max. After a bit of back and forth, the track was finalized and released.
 A sculptor, illustrator, dancer and songwriter-from Cairo,Egypt. Born in 1991, Norhan spent her childhood daydreaming and listening to imaginary narrators, turning the mundane to the magnificent. Writing roba3iat along with her drawings, never she thought of pursuing singing until one -open mic-night where she joined her friend Freddy on stage with his band. Soon after that she joined the Afro-punk band in Washington DC, naming it “Kushari”, Writing and singing in Arabic. Just as the band was about to record their music, Freddy passed away. Norhan wrote “you Left Early” which would be later the first song of “Always Here”
    
https://paa.ge/nor.hannem?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnimXJCYQ9OETe9dFyP7ya1FfeXhaB3bQqQFGMp1XctICd6MAuDhSaWnnYUes_aem_bk8Zijylg28EKONCtIZ6eg&brid=XI6akfmd85tiIkaTj8CvYg
 
3) Paloma Klisys and Cíntia Molter - Frecuencia3_Triad_II_Piece_I

A condensed radio work focused on listening, presence, and the materiality of sound, emerging from an ongoing process. Built through a precise architecture of 42 layers, the piece establishes a singular phonographic landscape in which the specific cadences of Cuban and broader Latin American discourses are stitched into field recordings captured under unusual conditions and scenes of everyday life. As the first sonic work of a second artistic triad, this composition presents itself as a hand-crafted assembly of cross-border listenings — a convergence between Caribbean and Latin vocal densities, radio interferences, and the abstraction of a signal in motion.    

Frecuencia 3 is a poetic, interdependent process by writer/artist Paloma Klisys and multi-artist Cíntia Molter, open to collaborations. Now in its 4th year, this long-term project was selected for Tsonami (2023), Irradia (2024), and the 15th Havana Biennial (2025). Paloma Klisys acts as the architect of sound montages, crafting high-density phonographic landscapes that merge technical precision with absolute sound presence.    

https://www.labirintoonirico.art/en/copy-of-frequ%C3%AAncia-3
https://www.labirintoonirico.art/en/frequencia3
https://www.labirintoonirico.art/en/c%C3%B3pia-frequ%C3%AAncia-3-s%C3%A9rie-especial
@frequencia_3
https://www.labirintoonirico.art/en
@palomaklisys
@palomaklisys_art
https://soundcloud.com/frecuencia3

1 Roy F Guzmán - Criollismo (10:00)
2 Nils Loret - Dance Without Eyes - Episode 1 : Transmettre (22:00)

1) Roy F Guzmán - Criollismo
 
The work corks with Puerto Rican folkloric instruments in an acousmatic idiom that is informed by complexity and the use of one shot sampled material. The work develops different sonic energies and propositions that are characteristically dense, sparse and complex. The word Criollismo is like mulato or mestizo, a mixed race.
 
Roy F Guzmán - Poet, conceptual and sonic artist, composer and improviser born and based in San Juan, Puerto Rico -1987. His compositions are primarily exploratory and work with alternative modes of musical communication. He develops the use of sound scores within the concept of "transduction/abstraction". He currently explores instrumental spectral music using non standard synthetic chaotic function's sonic spectrum as base material, "música a lo pobre", non-duality, multipolarity, axioms, Puerto Rican and Caribbean folklore in contemporary classical music and acousmatic music, the liminal state between sound art and music regarding eternity as a common link, and fictional artistic philosophy based on creative deductions from Taíno/Boricua abstract metaphysics.
 
He has performed and/or presented works in The Hague and Amsterdam- The Netherlands, Bratislava-Slovakia, Budapest-Hungary, Vienna-Austria, Rhode Island, Boston, New York, California-USA, Banff-Canada, Poas-Costa Rica, Argentina, Chile, Mexico, Ecuador, Colombia, Italy and Switzerland

2) Nils Loret - Dance Without Eyes - Episode 1 : Transmettre
   
In May 2025, at the Centre National pour la Création Adaptée in Morlaix (France), choreographers Nathan Arnaud and Saïd Gharbi, both visually impaired, conducted research into dance composition without the use of sight. Together, they explored modes of transmission based on voice, breath, body sounds, and touch. This work is part of the long-term Dance Without Eyes laboratory, which opens up new choreographic paths by creating a space for artists affected by visual impairment to meet.
Very quickly, the idea arose to create a resource for sharing this unique experience. The Dance Without Eyes podcast, produced with the complicit ear of Nils Loret and enriched by the sound creations of sound designer Clément Mandin, will give listeners a glimpse of the stories, practices, and reflections that fueled this first laboratory.    

Nils Loret is an author, sound director, and performer. His work explores the power of intimate narratives and is rooted in a queer approach to writing. He points his microphones toward those whose voices are too often marginalized, seeking to capture the uniqueness of their experiences and the beauty of their flaws.      

https://soundcloud.com/cocotte-nils

Radio Concrete #56 - Stefan Voglsinger

This episode features solo live recordings by Stefan Voglsinger, captured over the past seven years across the globe, and remixed and edited by Hagai Izenberg. Exclusively released and archived on Radio Concrete, Resonance Extra (UK).

Stefan Voglsinger *1986 is a musician and performer based in Vienna. He studied drums at the Vienna Music Institute, Music & Movement Pedagogy at the University of Music and Performing Arts Vienna and Sound for Films at the Escuela internacional de Cine y Television in Cuba. He focuses on interdisciplinary experiments working with sound and image, developing performances or audiovisual installations including selfbuilt or hacked electronic circuits.

Radio Concrete is an ongoing experimental radio art project which combines field recordings and radio re-sampling together with electro-acoustic instruments and unplanned sounds.

http://www.hagaizenberg.com/

This work tells the story of xenobiologists exploring new territories and life forms on an alien planet broadcasting the events in an aesthetic of lost radio waves and a fragile documentation being retrieved from an extraterrestrial archive. The concept deals with topics that is the focus of my work: documenting a fragmented world against the backdrop of my sensorineural hearing loss, recognising and reflecting on how we deal with the unknown as a mirror of how we deal with our identity. It approaches the idea that when confronted with the utmost strangeness, we may encounter ourselves and gain insight into the ideological beliefs, fears, and prejudices that influence us. The aim is not to cement the dualistic poles between otherness and self, but to attempt to overcome them - and maybe to create a new identity?
    
Artist bio:  
Deafnode is the sound and research practice of Hamburg-based artist Gaetano Rago. He is researching how the severe sensorineural hearing loss he has lived with since early childhood shapes hearing and perception and combines ethnographic methods with experimental sound design. Working with modified tape machines, looping systems, and custom Max patches, he explores how sound transforms and distorts as it passes through machines, memory, and the brain. He work primarily with dancers and visual artists and is part of the international collective Exposure Therapy, which explores the politics and poetics of auditory experience.
     
Website/social links   
https://bio.link/deafanthro
https://www.instagram.com/deaf_anthropologist

Invisible Generation is a previously unpublished audio collaboration between Glasgow based artist John Barry and composer producer Charlie Findley, mashing time travel experiments of William Burroughs with revolutionary proposals of Glasgow born Alexander Trocchi. Burroughs believed constructed sound tracks could influence and create events, imagining the invisible generation as unseen agitators creating holes in time.  Barry and Finlay's work uses Burroughs belief in time travel extrapolation to extend Trocchi's Invisible Insurrection of a Million Minds, a coup de monde, a cultural revolt that would outflank national governments using a million potential “technicians of change”.  Using archive footage and field recordings the work makes links to climate activism and the right to protest today. Conceived as part of a larger body of work called Distant Thunder, Invisible Generation recreates protest actions of the Roberts Arudel Strike 1967,68 that radicalized protestors, a long standing action that almost led to a general strike.     Artist bios :   John Barry artist and writer is passionate about human stories and working class culture, inspired by individual's determination to overcome adversity. I make work that overlay systems, revealing structures that lever change in communities, exploring psychological power structures and imbalances that often underpin progress. These works explore communication and collaboration often about belonging, a practice shaped by working and living with diverse and often stigmatised communities.   Charlie Findlay is a DJ, composer and producer and performer working in London     Website/social links  @writers.makers.doers.

1 Alexandre Sperandeo Fenerich - The Report of Stones and Shells (12:43)
2  Florence-Delphine Roux - Cime (10.30)    
3 daria baiocchi – Gelb (8:04)

1) Alexandre Sperandeo Fenerich - The Report of Stones and Shells
 
The piece poetically tells the visit to Madam Romana's ranch on the city of Natividade, in the center of Brazil. It brings sound elements from the Brazilian cerrado - an almost desert landscape of that region - from sound recordings made on 2025 at the Jalapão State Forrest Reserve, and also at the city of Natividade. It has the author's perspective - a skeptical musician touched by Madam Romana's devotion and her spiritual mission.
 
Alexandre Sperandéo Fenerich is Brazilian  composer, flutist, teacher, and sound designer. He holds a bachelor's degree in composition from Unicamp (2001), a master's degree in music from UFRJ (2005), and a doctorate in musicology from USP (2012). He works with musical composition on digital media, focusing on live electronics. He has participated in international projects as a composer and sound designer in Germany, Portugal, and Brazil, as well as in several music and digital arts festivals. He has released the albums: “Música Eletroacústica: 10 anos” (2014), “Coleção Peripatética de Sons” (2019), and “Fragmentos de Caminhos (2024).
 
https://www.unirio.br/cla/ivl/corpo-docente/alexandre-fenerich
https://soundcloud.com/ale_fenerich
https://nusom.eca.usp.br/eventos_fenerich
https://alefenerich.bandcamp.com/music
 
2)  Florence-Delphine Roux - Cime    

Cime proposes a disruptive ascent into the soundscape of one of Quebec's most mysterious peaks, Mont-Saint-Hilaire. Embedded in the collective imagination of the residents of Montérégie, this mountain has inspired numerous legends, with myths that endure, fueled by new beliefs related to the paranormal. The artist will navigate between capturing ambisonic soundscapes, natural very low-frequency radio signals, and analog and granular synthesis.

This work draws from phonographic archives created as part of a performative research project on extrasensory literacy and disruptive listening of the Gault Nature Reserve.    

Florence-Delphine Roux is a digital and sound artist originally from Quebec City and based in Tiohtà:ke/Montreal. Her work explores the intersection of art, science, and technology, with a focus on the medium of radio. Her creations take the form of listening experiences, immersive sound installations, performances, video art, and radio works. Driven by a sound-based practice, largely sourced from material stored from outdoor recordings, Florence-Delphine Roux's work is significantly based on the possibility of playing with textures that are not perceptible to the eye, particularly electromagnetic fields, thus contributing to a disruption of reality.      

https://linktr.ee/FlorenceDelphineRoux

3) daria baiocchi – Gelb
 
Wrapped in noise, the opening of this work draws the audience into a raw environment with an evolving texture. The various sections, bound together by the fil rouge of pure sounds flecked with varied repetitions of white noise, are followed by repeated sounds with differing envelopes—sounds that recount a lunar myth in which the sonic material acquires reverberations and echoes of distant memories. The memory of the sonic material is allegorically transformed and interspersed with impulses encircled by filtered elements belonging to the primordial matrix. The suspended shadow of a sonic line sways between timbral sounds and delay times, multiplying and ultimately returning upon itself.
Daria achieved an MA in piano, an MA in classical composition and an MA in
electronic music. She earned her degree in Classical Literature from the University of
Bologna (Italy). She's main Professor of Harmony and Music Analysis at
“G.B.Pergolesi” Fermo Conservatory of Music, Sound Design Professor in Macerata
Academy of Fine Arts and Sound Design Professor in Wuhan Academy of Fine Arts.    
https://www.facebook.com/dariapi/

4 Carey Lin and Gabriel Gilder - Listen Lab Sound Club (California, 2016–2018) (8:54)  
5 Alfredo Travieso - Bag (2:12)        
6 Dominic Pillai - 500 KHz: Above the Sea & Below the Sky (6:32)    
7 Berk Yagli - False Awakening on a Mediterranean Island (8:54)    
8 Ramin Takloo-Bighash - Woman, life, freedom (1:00)      
9 Paul Collins - Radio Spots - Sécurité Sociale (1:00)

4) Carey Lin and Gabriel Gilder - Listen Lab Sound Club (California, 2016–2018)
   This sound piece is a collage of various field recordings we made around California from 2016–2018. It was originally created for the 2018 group exhibition ‘California Walkscapes’ at Incline Gallery in San Francisco. Our California soundscape includes recordings of antique pinball machines, squeaky doors, subway musicians, tossing rocks down a hill, angry squirrels and more. Listening to these layered field recordings without any visual cues is like walking through a place blindfolded — picking up the details, the background you might otherwise overlook, the laughing strangers walking by, music from a passing car.    

Carey Lin and Gabriel Gilder are San Francisco-based visual artists who have collaborated since 2016. Their practice has taken the form of film and video, animation, sound compositions, publications and interactive walking tours. Recent work has been showcased at the San Francisco Independent Short Film Festival (2021); APAture Festival’s Visual Arts Showcase (2023); the West Virginia Mountaineer Short Film Festival; and “Exquisite Corpse” at Millenium Film Workshop (2025).    
https://www.lingilderprojects.com
https://www.careylin.com

5) Alfredo Travieso - Bag
Electronic sound experiment, playing with textures, editing, objects and layering.    
Artist bio:  Born July 1, 1973 in Bogota, Colombia.
Alfredo was trained in film and arts. His studies include a Bachelor's degree in Communication Arts from Marymount Manhattan College, film directing and production at Parsons New School University, and numerous production collaborations with New York University's (NYU) TISCH School of the Arts film program. He currently resides and works out of the city of Miami, Florida. He has obtained his MFA at the School of Visual Arts: Art Practice program in New York city, where has exhibited work. In Miami, Alfredo has curated shows and runs @trashroom_gallery, he has also shown work in Philadelphia.    
https://www.instagram.com/zeligbot/?hl=en
 
6) Dominic Pillai - 500 KHz: Above the Sea & Below the Sky  
This sound work engages with Dover's South Foreland Lighthouse from which Guglielmo Marconi sent the first international wireless transmission in 1899.    

Dominic Pillai is a multidisciplinary artist working across moving image, sound and the written word. Trained as a visual anthropologist his work is often ethnographic in nature, depicting subject matter informed by cultural environment and lived experiences through themes of cultural identity, memory, psychogeography and sensory experience. He has currently showcased work at Cannes Film Festival, Tate Liverpool, Manchester Contemporary and The Lowry. Dominic also creates music under the name THAMBI (தம்பி), with tracks that have been released on experimental record label Industrial Coast and broadcast on Stuart Maconie’s Freakzone on BBC 6 Music.
http://www.dominicpillai.com
Instagram: @DomPillai

7) Berk Yagli - False Awakening on a Mediterranean Island  
This piece is a personal journey through the experiences of being born and growing up on an island with complex cultural, political, and historical roots. An identity crisis, the hegemonic competition among political actors over culture, political narrative, and the collective subconscious, with its consequent decay, contrasts strangely with the beauty of the island and its warmth. After leaving the island at 18, this became further problematised through the questions of what home is. I felt strong connections and disconnections between where I grew up and where I lived afterwards, realising that identity and belonging can continue to evolve in subtle ways. Making every moment of interaction with the space and culture dynamic, as the individual affects the space, and in turn, it affects the individual. I aim to connect my journey and realisations with the ongoing social and political decay going on in the world.
     
Berk Yağlı (born 1999) is a Cypriot guitarist, composer, and producer. His mission with his music has been to address social, political, and philosophical matters, inviting listeners to reflect on these topics. He is working on hybridisation between electroacoustic music and metal as part of his PhD at the University of the Arts London. His works have been presented internationally at over 100 festivals in more than 30 countries. He regularly composes his music in studios around the world. He won more than 15 awards in international composition competitions.

Instagram: https://www.instagram.com/berk.yagli/
Facebook: https://www.facebook.com/berk.yagli/
Website: http://www.berkyagli.me/portfolio/

8) Ramin Takloo-Bighash - Woman, life, freedom
This piece weaves several found and recorded clips centering around women’s struggle for the recognition of their personhood, originally intended to be use for the films that I have worked on. This transmission features sound recordings from a Woman, Life, Freedom protest in Iran, the sound environment of the Virginia Museum of Fine Arts, excerpts from “The Feminine Mystique”,  of my daughter humming to herself, etc.      

Ramin Takloo-Bighash (b. 1974, Iran, MFA University of Illinois at Chicago, 2023) is a queer Chicago-based multi-disciplinary artist. In his work, Ramin explores immigration, war, trauma, isolation, and imprisonment—experiences that are very personal to him. A basic question that Ramin grapples within in his practice is: what happens to language in the face of trauma? Persian calligraphy, and its, often wordless, incarnations in painting, sculpture, and cartography, forms the core of Ramin’s artistic practice. Other than calligraphy, painting, and sculpture, Ramin’s practice also includes writing, music, sound, photography, and film.    
http://www.ramintakloostudio.com
http://www.instagram.com/ramintakloo

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

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

The piece I’d like to propose for Radiophrenia 2026 is ‘Velvet Vulva – Clownscape’ a live broadcast/performance exploring the maiden archetype through memory, nostalgia, and distortion. Using children’s toys as instruments such as plastic keyboards, toy microphones, bubble guns, small percussion — I weave a fragile sonic tapestry that draws on the textures of memory through sound.

The noises start soft, lullaby like, Lynchian and sentimental, then expand and descend into cinematic noise. Clownscape moves between tenderness and overwhelm, holding girlhood as fragile, sacred, and sweet. The piece reflects and celebrates the fleeting fragility of youth, where nostalgia can comfort and unsettle all at once.

Spoken word and playful poems drift through memory, looping, breaking, repeating. Dressed as a clown, I can (if possible) move through the space, letting the performance spill into the room. It is my intention that the piece be an immersive experience ,where memory is ignited  and the maiden archetype shimmers strangely and unsteady.
    
Artist bio:  
Clare/Speculum Bunny’s practice spans performance, sound, video, and embodied ritual. Drawing on her background as a bodyworker, somatic sound artist, and magickal practitioner, she works with repetition, endurance, and sensory layering to explore emotional thresholds, female archetypes, and transformation. Her performances often engage the audience, embracing the uncomfortable through absurdity, collapse, and invocation, blurring softness, control, and immersive catharsis. Improvisation is central to her work. She has released over six albums as Speculum Bunny, performed the four-hour durational piece BANSHEE at Tramway in 2023, and is developing larger, more immersive performances in 2026.    

Website/social links  https://www.instagram.com/speculum_bunny/?hl=en

1) Adam Bohman - At Home (Red Mullet, The Woodcock Of The Sea) (6:32)
2) Sophie Sleigh-Johnson - Chaldean Acts (2:24)
3) Ji Youn Kang - Time-FoldingV5 (4:59)
4) Félicia Atkinson - Everything Evaporate (6:40)
5) Katalin Ladik - Electric Bird (1:28)

1) Adam Bohman - At Home (Red Mullet, The Woodcock Of The Sea)
 
From the album 'Music And Words'
 
2) Sophie Sleigh-Johnson - Chaldean Acts
 
From the album 'Nuncio Ref!' - the first-baked tape works of one Sophie Sleigh-Johnson.

A collection of tele-vision canticles and psychic reportage from the bleary shores of Southend, featuring hotly anticipated fragments from the unearthed transcript of Leonard Rossiter’s lost Mystery Play.

As Rogation Ceremonies became obligatory again, the main technical problem was Bishop Ooze tracing time on damp walls: so, might these same tracks yet index the whereabouts of Mr. Prance, DJ?

And lo, from the rumblings of this grim chorale, you’ll get your fair share of the Reel Artikel, as much an inflammatory Kelp Pit Synod as the apostate’s mandate to walk in Big News.

Holsten?
 
3) Ji Youn Kang - Time-FoldingV5

 "Time-Folding V.5", Solo Live Electronics with Spring Reverb, Benjolin, Analog 16 step Sequencer, MIDI controllers, Laptop with Supercollider
Live Performance @ Stichting Centrum Den Haag, 02/Apr/2014

4) Félicia Atkinson - Everything Evaporate
 
From the album 'Everything Evaporate'

5) Katalin Ladik - Electric Bird
 
From the album 'Water Angels'.
 

An exploration of ideas of attractiveness via an actual radio broadcast in the form of a fake radio broadcast

Cast:
Neil: Vanessa Rossetto
Gloria: Matthew Revert
Rivka: Amy Johnson
with
Christina the Turkey as Herself
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

Vanessa Rossetto is an American composer and chipper-shredder, processing whatever sounds cross her path into sprawling, long-form narratives. Trained as a painter, Rossetto began working with sound in 2007 as a way to incorporate the element of time into her work. If you have met her, she probably recorded you.

http://www.musicappreciationrecs.com/
https://vanessarossetto.bandcamp.com/

Klankhof / Soundgarden is an adaptive installation built around the sonic language of Selenium Dust Particle. It is conceived for a garden in Nieuwpoort, the hometown of Selenium Dust Particle.
 The work presents sound as an architectural force: patterns expand, contract, and reorganize themselves in response to visitor movement.
By integrating sensor-based interaction with generative sound algorithms, the installation operates as an acoustic ecosystem.
 Selenium Dust Particle’s soundscapes—known for their granular detail and evolving layers—form the primary material from which this system grows. 
In Klankhof / Soundgarden, the visitor/listener enters a continuously shifting environment where sound behaves like a natural organism, creating a space for contemplation, exploration, and heightened auditory focus. Selenium Dust Particle : Klankhof / Soundgarden. (2026 - 53:10)

Shabbat Time is a weekly radio performance that I broadcast live from my living room in Glasgow’s Southside. It begins on Fridays, 18 minutes before sunset, when I open my microphone. I read out loud from a score that I write during the week. I also leave gaps. You hear the space as much as my voice.

Shabbat Time began as practice-research alongside my dissertation project Weak Times. Currently the scores are tied to this research, interested in time(s) of study, reading and writing, but the work is responsive and personal so its focus shifts.

Shabbat Time builds on Ensemble Radio Reading (ERR), a reading practice I have experimented with for some time, and Radio With Palestine which I make as part of Soundcamp (see bio).

Artist bio:  
I am a performance maker and creative geographer studying in Glasgow. I work through writing, ecological performance and activist radio. My practice is spatial and textual, exploring the interactions between humans and the more-than-human worlds we inhabit. As a creative geographer, I try to work between fields of enquiry, with the outputs of my work being a mixture of live performance, radio work and research papers. I am also a director of the arts co-operative Soundcamp, with whom I make Ecological Activist Radio, produce our annual festival and mix the 25-hour radio broadcast Reveil.      

Website/social links 
Soundcamp instagram: https://www.instagram.com/sound_camp/ 
Soundcamp website: https://soundtent.org/ 
Personal instagram: https://www.instagram.com/sasha_baraitser/?hl=en

1 Amar Ruiz - Comment on l'a regardée (11:54)   
2 Matilde Meireles – Three (11:49)         
3 Sean G. Meggeson - The Capacity to Be Alone: Spoken Word & Soundscape (21:41)   
 
1) Amar Ruiz - Comment on l'a regardée  
     
Comment on l’a regardée (How she was looked at) is a sound piece stemming from an ongoing research project called story of a singer with no voice, aboutaf Kadoudja, an algerian singer from the XIXth century. In the sound piece we ear a rearranged song from Kadoudja, played by sampling tapes, and followed by a voice telling her story. This piece questions the archives that were left about her and how she was portrayed in them.     

Amar Ruiz is a multidisciplinary artist born in 1998 in Grenoble (France), and based in Brussels (Belgium). With a practice mainly sound-based, taking the form of installations or performances, he is interested in the narration of History, and the History of the Algerian diaspora.     

instagram : @ama_rrz

2) Matilde Meireles – Three         

Three compiles raw biodiversity recordings collected around Stranmillis Weir into a looping, exploratory narrative that examines the rich yet incomplete nature of field recording. The recordings include animal calls, animal movements and the occasional sound distortion. A narrator catalogues both recorded species and those present but absent from the sound files — exploring the gaps between actual presence and what technology can document in a fleeting period of time. 

DRIFT was a collaborative floating architectural installation and public space that fostered new perspectives on city-river connections along Belfast's River Lagan during summer 2024. As part of this exploration, Wild Belfast—a Belfast-based conservation advocacy group—documented biodiversity around the pavilion using a Wildlife Acoustics Song Meter across a 4-day period within a 500-metre radius. DRIFT was commissioned by Belfast City Council and brought together OGU Architects, MMAS Architects, and myself.     

Matilde Meireles is a sound artist and researcher who makes use of field recordings to compose site-oriented projects. Deeply exploratory, blending improvisation and other sonic flows with multiple approaches to recording, her work takes shape through live performances, installations, album releases, community-driven projects, workshops and both academic and creative publications.     

https://matildemeireles.com
mtld_meireles (instagram)

3) Sean G. Meggeson - The Capacity to Be Alone: Spoken Word & Soundscape      
 
The Capacity to be Alone is a spoken word and soundscape suite of tracks comprised of fragments, broken utterances, trace narratives and everyday sounds that interact in an ecology of place, affect and selves. Part memoir and self-analysis, Capacity is an exploration of psychic conflict, recovery and acceptance. The Capacity to Be Alone is a direct reference to the 1958 psychoanalytic paper of the same title by Donald D. Winnicott in which he posits the notion that the capacity to be alone is not achieved through isolation but rather from the childhood experiences of integrating one’s self in the presence of another whereby a child develops an internal capacity to be alone when having to confront actual isolation later in adult life. Without this internalization one suffers but hopefully can build one's own internal capacity to be alone. Capacity is an invitation to feel and think about this struggle.      
 
Sean G. Meggeson is a poet and video/audio/spoken word artist, living in Toronto, Canada where he works in as a psychoanalytic psychotherapist with his dog, Tao. He has been published in Antiphony, bethh, Die Leere Mitte, Ice Floe, Version9Magazine and others. He won the League of Canadian Poet’s Spoken Word Award in 2024. Meggeson has published three chapbooks, Cosmic Crasher (Buttonhook, 2024), ta o/j, and soma synthesis (both from lippykookpoetry, 2025). Forthcoming: a full-length poetry collection, j: poems (primitive press, Toronto, 2026). Video poems forthcoming in IceFloe, and Infocalypse Press.     
 
https://seangmeggesonpoetry.blogspot.com/
Instagram: @sean_g_meggeson_poet
X: @seangmeggeson

1 Yuxin Hu - After Work (11:52)    
2 Olivia McCannon - 'Tablet' from The Lives of Z  (2:20)   
3 Paul Collins - Radio Spots - That Ol'Time Religion (1:00) 

1) Yuxin Hu - After Work 
     
The piece uses the sounds of office workers and office supplies to create looping structures, through which I try to explore the shifting relationships between social individuals and the objects surrounding them:
What kinds of gaps exist between you and the tools you work with?
Do certain loops continue even after you leave the office?
And what is the loop—or the distance—between your social self and your after-work self?     

Yuxin Hu is a sound artist based in the Netherlands. or you can call her a noiser. She creates experimental music, sound installations, and free improvisation, or interdisciplinary artwork based on an acoustic-electronic approach. "Acoustic" means all the sound sources are from realism, while "Electronic" lets it lean a bit to surrealism. Currently, she is a music master in Sound of Innovation, ArtEZ University of Arts. She is doing research on making free improv based on daily life objects such as Bluetooth mouses, cups, shelves, etc., aimed at speaking for daily life objects and freeing them from their default functions.     

https://www.instagram.com/frozen1900_/
https://yuxinhu.com/

2) Olivia McCannon - 'Tablet' from The Lives of Z  
   
'Tablet' is a sound piece grown from one of the poems of The Lives of Z (Pavilion Poetry 2025). I turned to sound to create after-lives for the poems, as I wanted to keep them moving, to retranslate their presence beyond the page. If a poem is owned by the cyclical, recycling energies of Earth, where and how might it decompose and transform?

Each of these poems is speculatively imagined as an object or artefact unearthed from an environment in which humans are a toxic trace, a remixed memory or a misplaced presence. They respond to a need to imagine alternative ways of being, with and within the extractivist ruins of English, and the landscapes and lives it has shaped and devastated.

My sound project-in-progress seeks to question the place of human authority and offer poems as polyphonic experiences, whose voices belong to complex human and more-than-human soundscapes. 
     
Olivia McCannon is a writer of poetry and fiction and an emerging sound artist. Born on Merseyside, she has lived in Paris, London and elsewhere. 

Her sound pieces have so far been heard and performed at The Engine Room (Morley College), Liverpool University, London Arts-Based Research Centre, Galway (ASLE), and on a cassette produced by Dasein and premiered at Artspace Juraplatz in August 2025 (Bienne, Switzerland).

Poems from The Lives of Z have appeared in Dark Mountain, Shearsman Magazine and the Forward Prize Anthology, and the book was published in 2025 by Pavilion Poetry (Liverpool University Press).

@oliviamcc (occasional posts) 

3) Paul Collins - Radio Spots - That Ol'Time Religion 

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

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

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

The idea of this media project is an immersive intimate experimental audio play. The work provides a listener with an experience of intimacy and fosters closeness between the sounding and the consumer. Motivation for the choice of a project is a long time interest in exploring the genre of audio play. Moreover, this project becomes a next step in a personal ongoing research on extended vocal practices and human voice as an instrument. The work on this project includes research on the genre specifications of an audio play, areas for experimentation and approach to script writing; deepening knowledge on vocal exploration methods; developing approaches and techniques that provide intimate experience through sound; defining overall sound aesthetics.      

Artist bio:  
I come from a background in academic painting and contemporary fine art, having originally worked in painting, sculpture, and moving image media. My creative journey has taken me through six universities, ultimately leading me to discover my passion for the intersection of visual and sonic art and, ultimately, to sound art. So far i've been working with sound on its own, exploring its agency, as well as body+sound explorations.    

Website/social links  https://soundcloud.com/ja-toto

1 Rei Loci - Storm Requiem (8:37)
2 53 CM - Le sentier au-dessus des villes (5:34)    
3 Marc-Antoine Granier - To cross (11:14pm) (6:58)       

1) Rei Loci - Storm Requiem
Storm Requiem is a radiophonic memorial built from the language and sound of extreme weather. As oceans warm and storms intensify, the work centres on the practice of retired storm names—those removed from circulation after causing exceptional loss of life or damage. These names are recited as a memorial reading, marking absence rather than classification. The piece traces the evolution of storm naming systems, from coordinates to names, through bureaucratic retirement rituals, to the moment in 2020 when climate-driven storm frequency exhausted prepared lists and forced the use of Greek letters, signalling a system pushed beyond its limits. Composed from synthesis, vocal monologues, meteorological transmissions and hydrophone ice recordings, the work blends human and natural sound through spectral processing. A continuous Shepard tone underpins the piece, creating the illusion of perpetual escalation, echoing how “unprecedented” events become normalised. Melodic fragments surface briefly before dissolving into radio noise, mirroring systemic collapse    
 
Rei Loci is the musical moniker of Craig Ritchie Allan, having varied acclaimed releases of electronic music on imprints Seventh Sign, Headspace, Downlow Music, Bosconi and Partout; A further 3 eps were released under the Numbercult banner in 2009, the name 'Numbercult' later solely becoming the repository of his A/V and artistic work, this work investigates how algorithmic thinking can be transformed into meaningful audio-visual experiences, this work has included developing real-time generative animations for the likes of Max Cooper, modular synth guru Richard Devine and building interactive VR immersive environments for the Sonica Festival.    
https://numbercult.netlify.app/
https://www.instagram.com/reiloci
https://soundcloud.com/numbercult/sets/titular
 
2) 53 CM - Le sentier au-dessus des villes
I imagined this sound piece as a walk through an imaginary city, blending different sound sources (urban noises, sounds of nature, drone elements, etc.). I used several samples that I repitched, detuned, and reworked using distortion and heavy reverberation. By playing with stereo space, a dialogue emerges between the different elements, forming a coherent and immersive soundscape.    

53 CM is an electronic musician and producer based in Le Havre(France) crafting a personal sound that moves between ambient and noise. He is a sound artist who often collaborates with visual artists to create sound design for exhibitions and performances. He works from materials they provide — texts, images, or conceptual cues — and transform them into immersive soundscapes.    
https://53cm.bandcamp.com/
 
3) Marc-Antoine Granier - To cross (11:14pm)   
This is the story of one night. Or several nights. One night a week, at midnight, for the past two years, I have been coming to place my microphone in a specific spot in the city.A secret place that I am particularly fond of. A place that tells a personal story for me, but above all, a place where sounds resonate beautifully. I settle down, record and leave.
Recording begins at the appointed hour. Water is also present in the night, like a tension that is breaking down. You have to cross it, swaying like a drunken boat, carried by the incessant ballet of our footsteps. The wind rubs against materials, creating surface effects.
     
Marc-Antoine Granier is a french sound artist, radio artist, composer and sound producer.
For more than twenty years, he has been recording and composing with all the sounds that pass through his instrument : the microphone.
His creations, in which intimate stories resonate with sounds, are at the crossroads of documentary, musical narration and sensitive writing. They explore the fragility of humanity, our relationship with the sound environment and our own stories. His work reflects a constant curiosity and a mixture of genres. 
https://www.marcangranit.com 
https://soundcloud.com/mca_808

4 Emma Bowen - Morgawr  (5:09)      
5 Colonial Skyway - Nike Sites Adjusting (3:50)
6 Fernanda Huamán + Manuel Briante - micro(sonidos)cópico  (2:41)    
7 Ro Rapaport - X (3:53)
8 Max Foucher - scarp and counterscarp (2:16)

4) Emma Bowen - Morgawr       
Inspired by some grainy black and white photos sent anonymously to The Falmouth Packet newspaper, in 1976, this short experimental soundscape attempts to bring to life the mythical Cornish sea serpent , Morgawr. This historic sea serpent sighting could be reinterpreted as evidence of real environmental threats, representing monstrous acts of human impact rather than natural creatures.
Made by recycling and piecing together old recordings and second-hand found sounds, a bit like an exquisite corpse, this sonic arrangement becomes a dreamscape for the photographs to inhabit.    

Emma Bowen is an artist and facilitator, based in Scotland. She works collaboratively on bespoke learning, social care and AV art projects. She has made noises with and for other people at Edinburgh Art Festival, Glasgow International and Sci-Fi Theatre in Liverpool. She was awarded an honorary mention and best experimental audio - for 2 years - at Black & White Festival International Audiovisual, Portugal.  She exhibits and screens work locally and internationally.     
http://www.emmagbowen.com

5) Colonial Skyway - Nike Sites Adjusting
For the last 10 years, Matt Anderson has been creating a form of drone soundscape music under the name Colonial Skyway, attempting to convey a sense of loneliness and space - something humans and nature both experience. In contrast, this work also gives voice to the forgotten machines and ignored systems of mechanized domestic service. At its basic form, this music is a celebration of unmelodic sound without the noise and hollering.
http://www.colonialskyway.bandcamp.com
colonialskyway@instagram.com

6) Fernanda Huamán + Manuel Briante - micro(sonidos)cópico  
"Pequeños destellos de luz brotando en mis micro-oídos-chiquitos"
"Tiny flashes of light sprouting in my little-micro-ears"
Plant cellular architecture as a visual score: Sound collage created from audio samples derived from micrographs of plant anatomical sections.    

Fernanda Huamán Pino (PE/AR): Dedicated to the exploration of sound through analog media, objects, and handcrafted microelectronics at the intersection of botanical sciences.
 
Manuel Briante (AR): Musician, composer, cellist, and self-taught sound researcher through electromechanical media.    

Fernanda Huamán Pino: https://ffffhp.blogspot.com/
@antiguedad.del.presente
Manuel Briante: https://r205.wordpress.com/

7) Ro Rapaport - X   
Sound sculpture made of stones and strings
Sound piece created from recordings of the stone and string sculpture built at the Land Light Festival. Teruel, 2025
Stones ring out, strings are plucked and rubbed, all of that and the surroundings appear soft but are still there. How do stones sound? How do I relate to that sound in the distance and what sound possibilities can be drawn from that material?    

I am an Argentine composer, guitarist, singer, cultural producer and trainer residing in Barcelona since 2017.
In recent years I have dedicated myself to research within the framework of sound art, ASMR and contact microphones and deep listening to territories, motivated by combining the sound of my electric guitar and my voice with materials not intended for sound, taking space as sound poetics.
Experimental instrument making and the construction of sound sculptures are part of my practice.    
https://rorapoport.com/ 
https://www.instagram.com/ro.rapoport/
https://vimeo.com/user133807900
https://diariosonoro.my.canva.site/#ingl%C3%A9s

8) Max Foucher - scarp and counterscarp
'scarp and counterscarp' samples a karaoke Adele and buries her chopped-up vocals (the scarp) inside a cacophony of shrills and ghostly wails (the counterscarp). It pits melody against discordance, singer against music industry. Ensnaring the voice, it offers a dark opinion on the trap(pings) of fame.    

Max Foucher is a Scots/French composer of ambient and electro collages, regularly releasing short tracks, with video accompaniments, on Instagram. His debut album, 'Music For Landfill', featuring field recordings captured in Dubai, is expected later in 2026.    
http://www.instagram.com/maxfoucher

9 Una Walker - Mycelium sounds (4:00)    
10 philippe neau - payysages.mouvements (3:58)
11 Jake Sandridge - FM Devotional (7:50)
12 Jeff Kolar - At Bay – solo (1:00)
13 Water Feature - Various Birds - eurasian bog tit (1:51)

9) Una Walker - Mycelium sounds      
I was reading about mycelial networks, how every fungal cell has the ability to develop into its own individual network and how every single hyphae creates its self in real time. The hyphae create the network at the same time as also carrying the water and nutrients allowing the network to grow in three dimensional space. And I asked myself what this might sound like. Mycelium sounds is one of the outcomes.    

Una Walker is an artist and writer based at Flax Art Studios, Belfast. She has exhibited extensively in Ireland and internationally, making site and context specific installation, audio and video works, and works on paper. Many of these works have dealt with aspects of individual memory and on the construction of collective memory. Site specific installation works have been constructed in diverse locations including: military fortifications in Ireland, Scotland and Finland: a derelict factory in Poland; and a cathedral in Wales. Her audio and video works have been included on numerous broadcasting platforms and in international festivals including In Sonora,   
http://www.unawalker.com
Instagram #unawalker00

10) philippe neau - payysages.mouvements  
« payysages.mouvements.» is a sensitive and vibrant soundscape. Hearing opens to natural sounds. A haunting yet discreet melody sets the rhythm for the wandering. The result of a collection of field sounds, this piece emerges as a “sound painting” of a composite and experienced space surrounding the house. The forest, the garden, and the distant sounds of the city intertwine to “give life” to a composite, dense, and organic space. This site, through its very substance, makes itself present and resonates within us.    

philippe neau, born in 1970, lives and works in Mayenne.
All my work attempts to shape an imaginary landscape. An attempt to create a "mental space." My music seeks to evoke these imaginary spaces through a non-narrative form.
The atmosphere can be dense. The contrasting sound palette plays with twilight hues. It envelops the listener/viewer, immersing them in the experience of an intriguing sonic space.   
https://linktr.ee/philippe.neau

11) Jake Sandridge - FM Devotional   
"FM Devotional" explores the topics of memory, distance, geography, and community. The foundation of this work is a series of field recordings and altered versions of those recordings. The field recordings are presented in both minimally edited forms and in highly altered forms. A primary manipulation of the field recordings involves a technique where the original recordings are broadcast over FM radio, while simultaneously being recorded through a radio receiver, thus introducing noise and distortion into the original recordings. Throughout the work, a sharp contrast is created by juxtaposing the distorted radio alterations with the original recordings. The field recordings serve as documentation of places and times, and the recordings being processed through the radio, along with the introduction of pitch elements, parallels the haziness and imperfection of one's memory of those places and times.    

Jake Sandridge is a composer, educator, installation artist, and pianist. His interests lie primarily in experimenting with ways to incorporate interactive technology into sound, investigating ways in which sound and technology can create and strengthen community, and creating works that encourage audience and performer agency.     
https://www.jakesnd.com/


12) Jeff Kolar - At Bay – solo
 “At Bay” was originally commissioned by choreographer Jennifer Monson and Serouj Aprahamian for their work “At Bay”, and premiered live at Krannert Center for the Performing Arts at the University of Illinois at Urbana-Champaign in March 2025.    
Jeff Kolar is a composer, sound artist, and founder of Radius, an experimental radio broadcast platform established in 2010. His work has been exhibited internationally at The Smithsonian Museum of Natural History, Museum of Arts and Design, CTM Festival for Adventurous Music, Tsonami Festival de Arte Sonoro, Radio Revolten Radio Art Festival, and reviewed in The New York Times, The Wire Magazine, Red Bull Music Academy, and more. His work has been commissioned by ORF Kunstradio, Deutschlandradio Kultur, Ràdio Web MACBA Museu d'Art Contemporani de Barcelona, and aired on independent radio stations all over the world.    
http://jeffkolar.us
http://instagram.com/jeffkolar

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

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

A jumble of sonic images of animals and humans interacting with them collected and mixed by robrrr_. Field recordings, clips from television and appropriations from social media form the basis of an exploration into the way we spend time with animals, play with them, parody them… The sound samples are manipulated, arranged and interwoven with original music to create a warm and playful ramble around the various ways we represent animals and use images of them to expose things about ourselves and our lifeworlds. In the clips, we sense the love and happiness that emanate from the interactions but, at the same time, the animals’ presence is often reduced, indirectly heard or otherwise cryptic, leading us to question if the subjectivity of the animals is given the space they really deserve. Originally broadcast on Radio Študent, Ljubljana, the title contains wordplay in Slovenian referring to its experimental sound platform 'RADAR'.    

Artist bio:  
Robbie Hopper is a musician, biologist, audio technician, curator and sound artist, working under the name robrrr_. Whilst originally hailing from the Scottish Borders, they have been living and working in Ljubljana now for almost a decade. They find making abstract compositions a comforting way of making sense of worldly wonders and horrors, and are currently particularly interested in radio and noise as subversive conduits for rebellion against oppression of various kinds. They invite you to greet your pet on their behalf.    

Website/social links   
https://clockworkvoltage.si/en/2025/11/30/robrrr_-2/
robrrr.bandcamp.com
instagram.com/robrrr_

Long-form work influenced by the artist Hal Fisher's 18th near Castro Street exhibition. Improvised mix of lo-fi audio recordings from Hunter square Edinburgh and the surrounding area (including the clam shell chip shop on the royal mile).      

Artist bio:  
Lo-fi experimental field recording artist from Edinburgh / the Scottish central belt. Tracks mainly built around one take Iphone voice recordings. Everyday sounds of the streets, buses, random pub conversations and noise. Borderline sound art.    

Website/social links  https://bsky.app/profile/ryanframe.bsky.social

Long-form work influenced by the artist Hal Fisher's 18th near Castro Street exhibition. Improvised mix of lo-fi audio recordings from Hunter square Edinburgh and the surrounding area (including the clam shell chip shop on the royal mile).      

Artist bio:  
Lo-fi experimental field recording artist from Edinburgh / the Scottish central belt. Tracks mainly built around one take Iphone voice recordings. Everyday sounds of the streets, buses, random pub conversations and noise. Borderline sound art.    

Website/social links  https://bsky.app/profile/ryanframe.bsky.social