Mon 14

It is nighttime in the city. Tatty terraces and scattered concrete tower blocks, the detritus of a vast up-turned wheelie bin bathed in orange twilight. Around this time of year strange things happen. The ether is populated with unruly beasts. Pipes can be heard tapping in the darkness, lightbulbs flicker, music plays on an unplugged jukebox and faint calls of distant laughter can be heard echoing in the subway. An empty karaoke booth crackles into life and the soft crooning lament drifts through the still corridors. Someone has entered the building.    

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

drift is a 52-minute radiophonic composition that explores the tension between dissonance and resonance through shortwave recordings, granular synthesis, and live instrumental performance. Field recordings of international radio, multilingual voices, fragments of music, propaganda, coded signals, static, and noise form the raw dissonant material. Rather than smoothing contradictions into harmony, the piece treats these overlapping transmissions as sonic realities: unresolved, colliding, and yet full of latent energy.
Against this backdrop, accordion, electronic violin, and electronics enter as resonant partners. Their sounds align with radio fragments, drift in counterpoint, or resonate literally with shared frequencies. Improvisation and composition intertwine to shape the oscillation between noise and listening, disturbance and melody, rupture and connection.
The result is a radiophonic piece of cinematic listening, that inhabits the in-between: a world where static becomes signal, where differences demand dialogue, and where fleeting resonances hint at the possibility of renewal.


drift-page: https://anjakreysing.de/wp/drift/

Artist bio:  Anja Kreysing and Sascha Stadlmeier aka EMERGE are German sound artists working at the intersection of radiophonic art, experimental composition, and live electronics. Kreysing’s practice explores “cinema of the mind” through accordion & electronics, field recordings, and Deep Listening–based approaches to post-cinematic compositions. Stadlmeier’s work spans musique concrète, drone, and noise, combining distorted minimal materials with improvisation on electronics, electric violin, and objects. Together they create hybrid radiophonic performances where shortwave fragments, granular processes, and live instrumental interplay form immersive acoustic environments. Both artists present internationally and are deeply embedded in experimental music networks, festivals, and interdisciplinary sound research contexts.    
Website/social links  
 
Anja:
https://anjakreysing.de
https://instagram.com/anja_kreysing

EMERGE:
Solo Work
https://immerge.bandcamp.com/
https://emergeac.wordpress.com/
Label
attenuation circuit
http://www.attenuationcircuit.de/
https://emerge.bandcamp.com/

This is an excerpt from my album "Dream Machine Radio' for Marfa Public radio with a special intro for the Texas desert. The dreamscapes created are based of dreams of immigrants, mostly Mexican immigrants, in the United States. Combining experimental music by Henna Chou, PanchaXBeats and Jeanelle Ramirez, this dreamscape explores our innermost landscapes.  As an immigrant having a stark contrast to their current location, I explored how landscapes become imprinted on us through experimental video and sound works. All dreams recorded from September 2020 - May 2021 through a dream hotline based out of Detroit, Michigan.    

Artist bio:  
Natalia Rocafuerte is a graphic artist, video editor and DJ. She works as industrial photographer and an adjunct professor at University of Wisconsin La Crosse. Rocafuerte has worked with museums, non-profits, festivals and commercial brands; creating vibrant and exciting graphics, websites, illustration, videos and art installations.  Rocafuerte’s recent installation film “Dream of Emma and Tony” was featured and won best “Michigan Filmmaker” at the 59th Ann Arbor Film Festival. Rocafuerte was also featured in Remezcla for "Top 40 Latinx Texas Artists to Know in 2020". Natalia Rocafuerte's studio practice explores using technology as mediums of psychological reflections, immigration, duality,    

Website/social links  https://www.nataliarocafuerte.net/about

The 2025/6 Conduction Series    

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

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

1 Netta Weiser - Songs That Yusra Collects (20:00)      
2 Francesca Dimech - O Fargam i Valletta (4:57)    
3 Szem – I Have Wings (12:10)

1) Netta Weiser - Songs That Yusra Collects

This radiogram delves into the work of artist and filmmaker Yusra Abu Kaf on subversive Bedouin women singing. In her practice, Abu Kaf archives and documents women’s songs that carry messages of resistance to violence against women. Often embedded within love songs and performative gestures, these messages are transmitted across generations as acts of survival, care, and protest.  

I visited Yusra in her village, located in the Negev desert, and recorded her during a high-tension period between Israeli police and Bedouin tribes. This radiogram interweaves live storytelling, recorded conversations, field notes, and sounds from Yusra’s archive and artworks.

Songs That Yusra Collects is part of Radio-Choreography, a long-term artistic research project exploring the relations between live broadcasting and muted histories, the sonic transmission of embodied knowledge, and collective listening as a form of being together. https://radio-choreography.net/
     
Netta Weiser (b. 1991) is a Berlin-based artist and choreographer working across performance, sound installation, and experimental radio. In 2019, she founded Radio-Choreography, a long-term research project exploring the transformation of dance into sound, the relationship between live broadcasting and muted histories, and listening as a mode of being together. Her work has been presented internationally, including at KW Institute for Contemporary Art Berlin, Tanzquartier Wien, Badischer Kunstverein Karlsruhe, Cambridge University, Onassis Stegi, WDR, and TONSPUR MQ Vienna. In 2021, she was a fellow at the Akademie der Künste Berlin, and in 2025 at the VALIE EXPORT Center in Linz.    

2) Francesca Dimech - O Fargam i Valletta

This piece made for Amgueddfa Cymru, National Museum of Wales is a response to an early photograph of a street in Valletta, Malta, taken around 1845 by Swansea-born pioneer Richard “The Rev” Calvert Jones. My Maltese dual citizenship was recently approved, so the Wales-Malta connection felt intensely personal as my late grandfather was born in Valletta. I turned the photograph into music, mapping its tones, shadows and textures into sound, letting light become pitch, and dark become rhythm and noise, then built a soundscape around the image, incorporating voice, instruments and field recordings. Jones, often cited as taking the first ever photograph in Wales, was an experimenter who altered and stitched images, so I treated the photo as something to manipulate and reassemble. The piece listens for coincidence, migration, and the strange ways places speak to each other across time, tracing echoes from Jones’ era to present day Wales.      

Francesca Dimech is a Maltese-Welsh multi-instrumentalist, composer, performer and community music facilitator from Cardiff. She writes for stage and screen, including musical theatre, theme music for children’s television, and songs for her bands and projects in Welsh and English. She builds narrative sound worlds from field recordings and found sound, for radio and installations, combining voice, trumpet, guitar, percussion and electronics. She has toured internationally with original music and theatre. She makes collaborative work with adults with learning disabilities, including non verbal participants. Neurodiverse and proudly DIY, she explores place, language and identity through noise, humour and feeling.    

http://www.francescadimech.com
@ffotoffrancesca

3) Szem – I Have Wings

This piece began as a sketch during a live performance at Gong in Chengdu, China. I am looking for a platform to broadcast a new composition that extends this work, an experimental sound piece collaging cut-up near-death experience vocals with subliminal messages for heart expansion, framed within left-field electronic textures. As a performer, my goal is to make music that reflects the unseen - the interconnected, heart-centered beings I believe we are. I believe now, more than ever, the world needs music that pushes boundaries, and allows shadow to surface whilst inviting deep, cerebral reflection.    

Szem is the left-field electronic project of visual and sound artist Laura Hunt. Szem means eye. It speaks to the many ways we see — through the body, through the third eye, through memory, and through one another. Combining hardware synthesis and electronic sampling with percussive sculptures, cut-up vocals and poetry, Hunt creates immersive sonic environments. Atmospheric water is sonified through hydrophone microphones; glass sculptures are amplified and transformed into percussive instruments. Her compositions weave together analogue hardware and digital processes, at times embedding subliminal frequencies that invite expanded consciousness and heart awareness. Hunt’s practice seeks to decode and conjure.      

https://www.instagram.com/laur_n_orda/

4 Tremon Lee - Westburn Session (0:34)
5 Xinyuan Deng - Where Paths Meet? (6:44)
6 Angel Hubris - Nëna's Predictions (9:29)
7 Anne-Marie Copestake – Athlone (5:00)

4) Tremon Lee - Westburn Session

Westburn Sessions is a 34 second excerpt of sounds collected from Westburn skatepark in Aberdeen (specifically my favourite tricks - Frontside Smith grinds and Slappy grinds). I then chopped the audio up on reaper and pieced together some form of rhythmic phrasing out of what I captured. I also sampled some sounds from my previous sessions and assigned them to a midi keyboard, pitching and warping the original artefact to coincide with the skateboard groove. The purpose of this was simply to explore the idea of sampling the sounds of this activity from this location, and to fuse two of my favourite things - music and skateboarding.      

Tremon Lee is the experimental solo project and alias of Glasgow based Folk songwriter - Scott J. Brice. This project is a means for Brice to explore different ideas and compositional realms that may not be thematic with his other Folk inspired creative output.     
https://linktr.ee/scottjbrice
https://on.soundcloud.com/Q6r3kC2a4bcl0Y7ncd

5) Xinyuan Deng - Where Paths Meet?

Where Paths Meet?, originally created as a quadraphonic fixed media piece, takes listeners on a captivating sonic journey that celebrates the spirit of exploration and discovery. Inspired by the fluid transitions found in video games and the endless curiosity they foster, the piece unfolds as an open-world soundscape, where each step opens new and unexpected realms. The journey begins with familiar, organic sounds—the crunch of footsteps, the gentle murmur of a creek, and the distant roar of a waterfall. These elements, recorded from everyday experiences such as climbing towers, hiking trails, and pausing near waterfalls, ground the listener in a recognizable, tangible reality. As the piece progresses, however, these boundaries dissolve. Much like moving between levels in a video game, the soundscape morphs, blending natural and surreal elements to create dreamlike, otherworldly spaces. Guided by evolving rhythms and layered textures, the piece shifts between the real and the fantastical.      

Xinyuan Deng is a composer, pianist, sound artist, and educator from China and is currently based in the United States. Deng’s work bridges traditional Chinese aesthetics with contemporary textures, exploring memory, movement, and flow through layered, immersive acoustic, electroacoustic, and multimedia soundscapes. Her compositions have been performed internationally by PHACE Contemporary Ensemble, The Rhythm Method String Quartet, ENSEMBLE CONCEPT/21, TEMPO Ensemble, Zhejiang Symphony Orchestra, and Harbin Symphony Orchestra. She holds degrees from the Central Conservatory of Music and Indiana University’s Jacobs School of Music, where she is completing her Doctor of Music degree.    

https://xinyuan-deng.github.io

6) Angel Hubris - Nëna's Predictions  

My grandmother, Nëna, humbly says she doesn’t know what she is talking about when she reads coffee grounds, but throughout my life everyone acknowledged her psychic intellect and talent. I have transcribed and translated to English this recording in Albanian of my aunt (Halla) and grandparents remembering two occasions when my grandmother predicted major events in people’s lives by interpreting the abstract residue in their coffee cups. The anecdotes speak to the realities of life during the Hoxha dictatorship, like the impossibility of buying things like mascara inside the country, or how relationships were navigated when so many details of life were controlled by the government. The namesake of this piece, Moj Fallxhore, combines “moj”, a vocative particle used towards women and girls to get their attention, but also spoken endearingly in certain contexts, and “Fallxhore”, which means Fortuneteller. You can access the transcript here: https://docs.google.com/document/d/1F1GY9QWM-xjC9yeuxzVdJ80nuj2-OqHUO3qMSSBudoc/edit?tab=t.0    

Angel Hubris, aka Bimbi, is an Albanian-American artist, writer, and performer living in Brooklyn, NY. They work with sound, video, sculpture, performance, and text, exploring belonging/displacement, identity, violence, gender/sexuality, the body politic, mysticism/occultism, dis/ability and disobedience. Their work has been published in Montez Press Radio, Petit Mort, Currant Jam Magazine, SHOTA, Layout Magazine, and No, Dear. They have performed at Performance Space New York, Pioneer Works, Recess Art, Text2Speech, and were a part of the 2025 Performa Biennal for Pakui Hardware’s Spores.      

http://www.bimbimafia.com
instagram: @angel.hubris

7) Anne-Marie Copestake – Athlone

Synopsis of piece:  Athlone is edited from oral history and field recordings made while I was researching the life of a housing estate during its centenary year, towards making a film. The film considers the estate and its community, tenant led activism, housing and homes, and the enduring impact of chronic housing issues in a critically altered environment following the depletion of council housing stock. Wider research for the project looked into histories of squatting and creative tenant led activism. The oral history recordings aimed to highlight narratives and experiences previously unrecorded and unconsidered. I worked with Jamie Grier to mix the soundtrack. Working on the film led to a further enquiry into conscious and unconscious resistance, how might histories be outlined, referred to, and honoured in fragmented oral history narratives.
     
Anne-Marie Copestake is an artist living and working in Glasgow. Attentive to daily acts, acts of refusal, tenderness, narrative, oral history, temporary and longer term communities, her work is concerned with social political conditions surrounding choices, or a lack of choices, and an exploration of histories and environments that may have contributed. Anne-Marie often works collaboratively.

1 Melas Eichhorn & Lucie Schroeder - Lichtschatten auf Retina (19:47)
2 Aubrie James - Accumulation Story (2:37)  
3 Yiannis Andronikidis & James Hazel - Starved for Weather; An Exercise in Storm Squatting (15:48)  
4 Georgina Canifru - I'm sorry (1:00)
5 Sjoerd Leijten - Meandering through Signal, Silence and Noise (18:58)

1) Melas Eichhorn & Lucie Schroeder - Lichtschatten auf Retina   
 
2) Aubrie James - Accumulation Story

A soundscape of land change/landmaking on the campus of the Massachusetts Institute of Technology. The campus is situated along the Charles River in Cambridge, MA. Over a geological blip of a time period, the marshy, winding, and fluctuating river form of Quinobequin (an indigenous word meaning "it turns" or "meandering") was dredged, straightened, and made static. These enormous industrializing and colonizing efforts created the Charles river as we know it today. This soundscape tells the story of land change/landmaking that converted Quniobequin to the Charles River. It begins with raucous stacked sounds of a healthy marsh, which slowly drop away and are replaced by the sounds of an unhealthy marsh, which ultimately give way to soft sounds of footsteps recorded in the MIT nanotechnology laboratory.    

Aubrie James (b. 1989) uses her intimate understanding of ecology to probe scientific methods of knowing. Her interdisciplinary work plays with scientific aesthetics and convention to theorise ecology as a practice of constructing ideal/material landscapes. Holding a PhD in Ecology and Evolutionary Biology, her research led her to question how scientific convention had limited her perception and communication of the natural world. Her art practice began as scientific field experiments which were covertly designed as land art, and has expanded to include sculpture, sound, multimedia installation, and socially engaged eco-art. She lives and works in Queens, New York.      

aubriejames.net
instagram: @atclouds

3) Yiannis Andronikidis & James Hazel - Starved for Weather; An Exercise in Storm Squatting

Starved for Weather; An Exercise in Storm Squatting is a sound work that borrows phrases from George Kuchar’s Weather Diaries 3 (1988) to ask: how do we transcribe the untranscribable? What if storm chasing—long linked to post-romantic heroic thrill-seekers, popular culture, masculinity, and para-scientific enquiry—could be reimagined as an act of radically transcribing a new present tense? Storms in a teacup, no-more! Storm chasers’ adrenaline rush in four-wheel simulations… Lo-fi recordings dictated by the trained ears of radio operators… Systems imploding and ejecting paranoid inscriptions… How might transcription trace those dizzying devotions and distortions, and become a cutting tool through and against the numbing of disaster? Here, squatting embodies a duality: a burnt-out presence with no choice but to inhabit this unstable present, and a refusal to yield to the all-engulfing erasure.    

James Hazel is a composer, artist and writer working on the unceded lands of the Wurundjeri Woi-wurrung people. He is the director of the working-class opera company ‘Poor Opera.’

Yiannis Andronikidis is an art historian, poet, and translator based in Athens, Greece, working across text-image-sound through modes of rehearsing and archiving.    

jameshazel.org
https://yiannisandronikidis.com/
https://www.instagram.com/poor_opera/
https://www.instagram.com/john_andriou/

4) Georgina Canifru - I'm sorry
 
Miniatura compuesta en contexto de residencia en el Taller Experimental de Música para alumn*s de composición en la Universidad Nacional de Córdoba, Argentina impartido por el músico y profesor Gonzalo Biffarella. La pieza sonora fue seleccionada en la convocatoria "LA LLAMADA" para formar parte de la muestra de Miniaturas Sonoras del Festival de arte sonoro y Música visual Bahía in sonora y en el Museo Ferrowhite de Argentina, 2017.    
Artista visual autodidacta que desde 2012 ha participado en festivales y exposiciones de artes visuales, arte sonoro, radio arte, y especialmente performance en que incorpora sus propias composiciones sonoras. Indaga desde 2023 en la figura del esgrimista por medio de dibujo y performance sonora.
Publica Vacío Animal [Poesía] en 2009. Fue becaria del Taller de Creación Poética de la Fundación Pablo Neruda.
 
https://georginacanifru.wixsite.com/sitioprovisorio
     
5) Sjoerd Leijten - Meandering through Signal, Silence and Noise

'You hear these short, mysterious, gliding tones? Fiiiiiiiiiiuuuuuuuuu Fiiiiiiiiiiiiiiiuuuuuuuu'

'Meandering through Signal, Silence and Noise' is a wildly associative sonic essay that winds through the invention of spaces in between words, the echo of the Big Bang, cicada songs, the hum of the Philips Senseo coffee maker and electromagnetic Whistlers - tracing unexpected connections across cosmic and domestic scales.

'We alternated between fiddling with a little transistor radio - picking up all kinds of obscure signals - and reading passages from Finnegans Wake aloud to each other.'    

Sjoerd Leijten (he/him) is a transdisciplinary maker working with sound, language, and imagery. His practice merges the discursive with the immersive, aiming to resonate in both head and gut. Listening closely to the environments and ecologies that we are a part of, he collects field recordings, electromagnetic signals, images and words to build music compositions, radio works and cinematic installations.      

https://www.sjoerdleijten.nl/
https://www.instagram.com/noiseful_joy/

Based on a true event, The Story of Room 03 tells of a fraught encounter between an artist and a haughty exhibition space in a former Georgian home in East London. With only 10 days to go until the scheduled art exhibition, artist and room cannot see eye to eye on creative matters and risk having nothing to show to the public. With the artist's reputation, the room's dignity, and the visitor's satisfaction at stake, unlikely intimacies develop between the three in this love letter to making room.    

Artist bio:  
Katarina Ranković is a Glasgow-based artist, writer and performer working across voice, text and moving image. Her practice explores selfhood and subjectivity as things that can attach not only to people but also to spaces, objects and stories. Since 2012 she has been developing The One Woman Empathy Circus, a series of character-based performances in which she channels different fictional figures through a single body and voice. She holds a practice-based PhD in Art and teaches Fine Art at the Glasgow School of Art.    

Website/social links  
YouTube: https://www.youtube.com/@k.rankovic
Instagram: https://www.instagram.com/rankovic.k/

This conversation took place while artist Daniel Miller and I were waiting for our food at the Bossa Bar in Kobe. Ikura-san's bar was bathed in golden November light, the wooden furniture, a multitude of displayed items and the counter gleaming as if to rival the rows of flashing bottles and glasses. Two large television screens were showing a science fiction anime film oozing a 60s male gaze. The day before, I had read about the Japanese concept of “Tsukumogami” (付喪神, "artefact spirits"): Animated everyday objects in Japanese folklore. Mr Ikura skilfully polished glasses while answering my questions about garbage and the values we attribute to it. Great thanks to Daniel for translating! Datscha Radio’s journey was made possible through the support of Kunstfonds Bonn and the Federal Government Commissioner for Culture and the Media, Germany. Credits: Recording&photos: Gabi Schaffner/Datscha Radio © 2025 Voices: Daniel Miller; Ikura-san. Nov.10, Kobe, Japan.    
Artist bio:  
Gabi Schaffner works as a transdisciplinary artist across radio art, composition, and performance. Her artistic practice is inspired by the methods of poetic ethnography in connection with Fluxus-like mise-en-scènes, radio-making and sound art   performances.
Since 2012, she has maintained “Datscha Radio”, a nomadic transmission project that links the medium of radio to ecological issues. In 2025/26, Datscha Radio travelled to Japan to explore the connotations of “waste/garbage” in Japanese culture. Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. She lives (mostly) in Berlin.  

Website/social links  https://schaffnerin.net
https://datscharadio.de
Insta: gabi_schaffner

Solastalgia is the grief of witnessing erosion or loss of one's home environment while remaining within it. It speaks to the intimate bond between people and place, where the wounding of the land is reflected in the estrangement from self and others. Unresolved fragments and interventions hold entangled temporalities of nostalgia, disruption, and futurity. This collage of field recordings, live improvisation, and sonic sketches unfolds through nomadic landscapes; tracing recurring motifs of inherited grief, rituals of remembrance, and the quiet care of sustaining life in desolate states.

Bio:
Sophia Mitiku is a Korean-Ethiopian singer and musical artist working across the intersections of landscape, memory, and cultural heritage. Working across music, performance, and installation, Sophia builds immersive sonic environments that move between experimental sound practices while appealing to pop sensibilities, focusing on the voice as a mutating, transfiguring, and embodied instrument.
Alongside her solo practice, Sophia engages in collaborative and research-based projects, often working closely with visual artists, musicians, and cultural practitioners. Her process emphasizes speculative theory and interdisciplinary exchange.  

Links:
http://www.instagram.com/sophiamitiku
sophia.mitiku@aol.com

Walkers wear headphones and enter a shared acoustic space, becoming a part of a temporary nomadic acoustic community.  Participants depart together from the chosen location, while online audiences join the internet broadcast from anywhere in the world.  

Through the shared sonic space and synchronised movement, the aim is to enhance the sense of interconnectedness and collective belonging.  This sound walk uses a unique delivery method: a network of online radio stations, to create a shared space within the sonic environment without referring to a specific territory.    

Artist bios:  
 
Anna Khvyl
Electronic musician, composer and cultural scientist. Author of music for the films “Askania Reserve”, “Above the Styx”. Creates compositions and audio installations using field recordings. As part of her research and educational activities, Anna studies soundscapes, conducts sound walks and workshops on acoustic ecology.

Piotr Armianovski
Performer, director and playwright. Piotr works with documentary film, theater and virtual reality. Armianovsky participated in Manifesta 14, Venice Biennale (2019), is the winner of the II Biennale of Young Art (Kharkiv, 2019). Laureate of Gaude Polonia (2020). Director of the play “AGORA” (2023) at the Lviv Academic Theater. Lives in Kyiv
    
Website/social links   
https://www.annakhvyl.com/cv
https://soundcloud.com/anna-khvyl

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Palīdzības iela (1:30) 

 
1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Palīdzības iela   

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.    

Website/social links  
https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s

A Foreign Silence is an electroacoustic radiophonic work composed from voice, field recordings, and archival sound collected across Beirut, Palestine, and Vienna between 2023 and 2026. The composition draws primarily on material gathered through Do You Hear The Silence?, a participatory walk-in listening installation developed in collaboration with Joanna Zabielska during Sokhon's 2025 residency with philomena+ and kulturen in bewegung in Vienna.

Rooted in experiences of being silenced, A Foreign Silence approaches silence through memory, testimony, and lived experience. Drawing on archival sound, field recordings, and voices gathered through interviews, the work reflects on what emerges when speech is interrupted or withheld. It asks: what do we associate with the absence of sound? What can silence reveal? And how are experiences of silence shaped by geopolitical realities?

Music, sound composition, interview, field recording & sound collection: Nour Sokhon
‘Do You Hear The Silence?’ Inflatable sculpture: Joanna Zabielska
Photo documentation: Ibrahim Dirani Independent Space Index - festival - 2025 30.5-1.6.2025
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

Based between Beirut and Berlin, Nour Sokhon’s practice draws on archival methods and the activation of inanimate matter as living narrators, taking the form of sound and music pieces, performances, interactive installations, and moving-image works. She earned a master’s degree of Design in Sound for the Moving Image from The Glasgow School of Art. She received the Emerging Artist Prize from the Sursock Museum in 2019, for a moving image piece entitled ‘Revisiting: Hold Your Breath’ and was awarded the Sound Art 2020 scholarship by Lower Saxony and the University of Fine Arts in يب†Braunschweig. In the fall of 2024 Beirut Birds / ط†ور†روت†Sokhon’s debut solo album, was digitally released on aural conduct and was produced with the support of the Arab Fund for Arts and Culture – AFAC.

She has exhibited her artwork internationally and performed in various sound/ music festivals including This Is Not Lebanon (2021), Punkt Festival (2023), Gaudeamus Festival (2023), United in Grief (2024), Vorspiel (2024), the Biennale d’Aix (2024), Salam Music (2025), Mapping Sounds in Exile (2025), IFFI (2025), Avant Art Festival Berlin (2025), Expressions D’elles #5 (2026), Sonic Acts (2026), Sauna Festival: Saturation (2026), Art Explora (2026) and Lips #3 - Souffle (2026). Her work has also been shown at institutions such as Spatial Sound Institute, Beirut Art Center, SAVVY Contemporary, Kunstraum Kreuzberg/Bethanien, Kunsthaus Hamburg, Silent Green, Henie Onstad Kunstsenter, GMEM, Frankfurt Lab, Künstlerhaus Mousonturm, Kampnagel Hamburg, neue Gesellschaft für bildende Kunst (nGbK) and La Condition Publique.

https://www.noursokhon.com/

Travelogue is a 23min sonic meditation using the sounds of travel and motion. Trains, planes, boats, metros, escalators, rickshaws and human motion - finally stepping out out into deep sand. Sonic signatures to be recognised by those in the local geographical area. Abstract sounds to everyone else. The Berlin S-Bahn, Bengaluru metros, Staten Island ferries, squeaky floor boards in Copenhagen to pilgrims walking around an idol in a small dark temple in the centre of Lhasa.

Steam, smoke, electricity and carbon expended into the atmosphere.
Travel certainly broadens the mind, but it often also impacts our future. How to square this circle?    

Artist bio:  
Keith de Mendonca took his first tentative steps into field recording in 2000 and since then he has been a contributor to the long-running radio show “Framework” on Resonance FM. His audio recordings have been aired on the ABC, BBC, ORF and other radio stations worldwide. Keith’s work has been used in the soundtracks of experimental films, appeared on CDs and been the subject of a DivFuse installation in London. For the last 2 years Keith has also been photographing live music events in London.    

Website/social links   
https://frameworkradio.net/tag/keith-de-mendonca/
https://soundcloud.com/keith-de-mendonca
https://www.instagram.com/keithdmphoto

1 Nichola Scrutton - Lateral (11:15)  
2 M. Cristina Marras - Incantation for Restoring Democracy (4:50)
3 Akari Komura - drops and a breeze (7:44)
4 Christiane Prehn and Wolfgang Meyer – Gravefieldsounds (3:31)  

1) Nichola Scrutton - Lateral

Lateral was originally commissioned for High-Slack-Low-Slack-High – a suite of audio works relating to the Clyde River curated by Minty Donald for GI Festival of Visual Art 2012. Subsequently, I created a studio version of the work, which has been broadcast internationally.

The starting point for the work was the idea of a ‘Lateral System’ - a system of navigational aids comprising shapes, colours and numbers, used to guide boats up river channels into ports and docks. River water sounds, place names, info from tidal charts and signal/radio sounds serve as signposts, rooting Lateral in the real world. But the flow of water and rhythms of a vocal landscape contribute to a sense of multiple spatial and historical resonances, and to ideas of flowing with and against the current.    

Nichola Scrutton is a composer, artist, performer, and facilitator based in Glasgow.    

https://www.nicholascrutton.co.uk
https://nicholascrutton.bandcamp.com
http://eepurl.com/gihZh9
IG: @nic_scrutton
BS: @nicholascrutton.bsky.social

2) M. Cristina Marras - Incantation for Restoring Democracy

This piece reflects a journey from witnessing US events and feeling powerless to taking creative action. As an independent audio producer living in Sardinia (Italy), I could not make sense of my desperation while witnessing ICE violence in Minneapolis. I was horrified, so I decided to channel my energy into creating an incantation, using my skills to feel less powerless. This piece aims to be cathartic resistance and magical defiance against oppression. I used the only weapon that I have, my creativity, as a tool to denounce horrific realities and, hopefully, inspire other creators to use art for activism to contribute to change. Please note: The protest sound at the end has been recorded in Minneapolis, used courtesy of stevevader101 -- https://freesound.org/s/841767/ -- License: Attribution 4.0    

I'm an indigenous Sardinian from an island that pushed me to travel young (10 years in Germany, 20+ in Australia), then back home. Moving through cultures sparked my fascination with how memories shape places and how sound shapes memories and belonging. Working at national radio during the podcast boom let me experiment with immersive sound narratives. Now an independent producer, when I'm not playing the hustle game, I use my time collaborating with fellow creators worldwide, using audio to weave connections between people, places, and experiences.    

http://www.cristinamarras.com
https://www.linkedin.com/in/cristinamarras
https://www.instagram.com/addressapproximate
MY PORTFOLIO 
https://www.canva.com/design/DAG8C0iwIu4/apRjKmGPkXcCNDmKaONAUg/view

3) Akari Komura - drops and a breeze

Synopsis of piece:  The work narrates the logs of a week-long diary individually documented by the performer, Natalia Merlano Gómez, and by myself as the composer in March 2024. The dual texture of voices and daily records amplifies the intimate, subtle, and personal observations of everyday life.    

Akari Komura (b.1996) is a composer-intermedia artist from Tokyo, Japan. Her works center around contemplative mode of listening and soundmaking. She is interested in calling attention to the everyday space and blurring the boundaries of individual/collective, life/art, and performer/audience relationships. Her works have been presented at the American Composers Orchestra EarShot Reading, Composers Conference, HEAR NOW Music Festival, and MATA Festival. She holds an M.M. in Composition from the University of Michigan and a B.A. in Vocal Arts from the University of California, Irvine. Akari is currently a Ph.D. composition student at the University of California San Diego.    

https://www.akarikomura.com/
https://www.instagram.com/sonichabitat/

4) Christiane Prehn and Wolfgang Meyer – Gravefieldsounds  

In the last years, Kg Augenstern focused on energetic experimental art projects. The artists stayed in the island of Pantelleria (Italy) for two months in early 2024 and again in Winter 2025. Due to it's volcanic activity, Pantelleria is said to have strong electromagnetic fields. Kg Augenstern did a research at different places about this earthmagnetic power. With very sensitive sensors especially made for this purpose, they measured the electromagnetic radiation and the impact of art and rituals on it. On one of our first walks on the island, we passed along a place with four empty stone graves. We found out that they date back to around 700 a.d. when byzantine christians settled on the island. It is very likely that monks from the nearby monastery were buried here. Gravefield sounds is the recording of the sounds while measuring the magnetic field on this graves.    

Kg Augenstern Christiane Prehn and Wolfgang Meyer (Berlin) Kg Augenstern works in the field of audiovisuall/ audiokinetic installation, performance and video.
Solo exhibitions: - Heaven can't wait, research and exhibition, Messina, Italy (2025) - Knocking on heaven's door, research and exhibition, Pantelleria/Catania, Italy (2024) - A ghost refuge, Installation and performance, Dalarna, Sweden (2023) - Nowhere Land, Installation, Gallery Hosek Contemporary, Berlin (2021)
Group exhibitions:
- Knocking on Heaven's Door, Installation, selected project, Larnaca Biennale, Cyprus (2025) - Sceccu, ritual object, Art Figura, Germany (2025) - A ghost refuge, LoosenArt Rituals, Rome, Italy (2025) -      

http://www.kg-augenstern.com
https://artfacts.net/m/ImFydGlzdC1rZy1hdWdlbnN0ZXJuIg.aYC-2g.iqt06-i7p8cwlHu99xHqaGBf63E

5 VIRID and David Minnix - Slow Images III. River Rocks I (5:24)    
6 Oronnok Prithibi - Moss Beneath the Concrete (3:02)    
7 Olivia McCannon / Glenn Keiles – Scroll (2:26)
8 Isidora Kauak - Domestic Seánce (7:53)        
9 Night Wire - Housel Bay (9:50)
10 Jey Wang- 你在听吗 (Are You Listening?) (3:00)  

5) VIRID and David Minnix - Slow Images III. River Rocks I
Slow Images, an experimental work for percussion, electronics and modular synthesizer, explores memory and sensations of texture through imagery. Each movement contains structured improvisations written in response to images with distinct characteristics. The photos were collected and compiled by the group and depict personal instances of fleeting encounters with striking environments. One finds that the longer they gaze at one of these photos, the more intrigue it offers, thus giving the record its sense of endless peculiarity.      
Based in Southeast Michigan, VIRID explores the space in between electronic music and classical percussion. Amorphous yet always compelling, the duo is committed to experimentation, incorporating a blend of songwriting, electroacoustic production, and improvisation into their unique sound worlds.
 
David Minnix is a composer, performer, producer, and instrument designer based in Ann Arbor, Michigan. David has a passion for writing for and performing with the modular synthesizer, livecoding improvised music with Tidalcycles, and creating new musical instruments out of salvaged electronics. David's work combines electronic and acoustic improvisation and seeks to create organic textures from synthetic parts.      
https://www.instagram.com/virid.duo/
https://www.instagram.com/minnix_xinniw/
https://virid.bandcamp.com/album/slow-images

6) Oronnok Prithibi - Moss Beneath the Concrete   
A sound work that represents the moss beneath the concrete of our society. How the urbanization suppressed nature and the echo is still there beneath the ground.      

Oronnok Prithibi is a sound artist and film sound designer.     
https://www.instagram.com/oronnok.prithibi/

7) Olivia McCannon / Glenn Keiles – Scroll
'Scroll' is a sound piece grown out of a poem from The Lives of Z (Pavilion Poetry 2025) and a collaboration produced by sound designer Glenn Keiles.
I turned to sound to create after-lives for the poems, to keep them moving and retranslate their presence beyond the page. If a poem is owned by the cyclical, recycling energies of Earth, 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.
This 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.Glenn Keiles is an experienced composer and sound designer who has worked with the poet Tony Harrison, among many others.
Instagram: Oliviamcc (occasional posts)
 
8) Isidora Kauak - Domestic Seánce
Domestic Séance is a piece that forms part of the project Espíritus Domésticos, an artistic research project that addresses spiritualism in Chile from both a historical and contemporary perspective, emphasizing the domestic space as an essential site of mediation and communication with the invisible. Drawing on the study of spiritualist practices developed primarily in the nineteenth century, the project examines the home as a territory where the private and the public intertwine, and where women played a central role in activating these practices, generating spaces of autonomy, knowledge exchange, and forms of collective experimentation.
The sound piece is composed around a mantra-like rhythm, integrating sounds of double bass and sitar, whispers, domestic sounds, archival recordings, and hidden messages embedded in the voices of deceased family members.    

Isidora Kauak Aguad is a Chilean visual artist and researcher, born in Santiago, Chile, in 1995. Her practice is situated at the intersection of contemporary art and theoretical research, with a particular emphasis on the study of Western Esotericism and its manifestations in contemporary artistic creation.    
http://www.isidorakauak.com

9) Night Wire - Housel Bay
Night Wire is an ongoing project examining the hidden electromagnetic soundscapes of our world. Housel Bay is the first in a series of location-based pieces, recorded in Cornwall via conventional and software-defined radio, near the site of the first transatlantic wireless transmission. Early spiritualists and engineers alike considered radio a means to communicate with dimensions beyond our own. Cromwell Fleetwood Varley, one of the engineers responsible for the first Atlantic telegraph cables, thought it could be used to listen in to the conversations between angels. In the present day we are suffused by signals that help us navigate, keep our watches running, open doors for us and keep track of our devices. At Housel Bay sing wave data buoys, submarine communications, radar and digital data modes, while the lighthouse foghorn sounds from cliffs shrouded in cloud. There are plenty of ghosts to be heard.    
Emmy Lambert is a composer and sound artist focussed on textural, timbral and spatial explorations in sound. Her practice incorporates technical and cultural research, data sonification, field recording, acoustic and electronic instruments, collaboration and installation and considers themes of perspective, technology, humanity and the natural world.    
http://www.hothousediscord.com
@hothousediscord
 
10) Jey Wang- 你在听吗 (Are You Listening?)
This artwork explores encrypted testimony as a form of self-protection performed through everyday speech. Fragments of casual conversation between women appear light, yet certain phrases function as signals recognisable only to those with shared experience. Laughter operates as a public surface, allowing difficult material to circulate without direct exposure.

The work shifts between synthetic voice, sparse dialogue fragments, and processed water textures. Two voices reading the same text in stereo operate as repetition rather than emphasis, acting instead as a form of verification. As the piece develops, layered water sounds expand into a masking field, gradually overwhelming intelligibility and destabilising meaning.

The composition treats listening as a passage from private whisper to shared acoustic space. Voices do not seek visibility or confession; they move carefully within the public field, testing whether a listener exists who can recognise the signal without turning it into spectacle.    

Jey Wang is a London-based sound and multimedia artist and a graduate of the University of the Arts London. Working across recording, text and installation, her practice focuses on listening, emotional perception and the instability of everyday speech. Through fragmented audio and minimal structures, she explores how gendered experience, migration and belonging shape inner states and public communication.

A fusion of the enormity of the voices of nature with the intimacy of radio drama.
Marcail sees the Half-Way Rock as nothing more than a resting place on the Scottish coast until the sounds of the waves, wind and rain one day appear to her as voices, calls for help, final words long lost among the depths. But why her, why now?
An answer comes only when Marcail finds herself precariously perched thousands of feet above an abyss on the Half-Way Rock’s mirror-image on the other side of the North Sea: the Kjeragbolten. This time, the phantom words come from the Draugr – spirits of those lost at sea, human forms with heads of seaweed, and suddenly the voices make sense.
An audio deep dive into a previously unheard world - inspired by real events in the shade of North East Scotland's Half-Way Rock.    

Artist bio:  
Neil Cargill has created many innovative drama, feature and music programmes for BBC Radio and independently for online sharing, specialising in exploratory storytelling and immersive sound design. Described by Robin Rimbaud as "a sonic inferno", his audio drama "Akiha Den Den" featured the acclaimed electronic score by Simon James, while several of his radio collaborations with poet, humorist and harmonium wrangler Ivor Cutler continue to be broadcast regularly on Radio 4 Extra. Rock Scree Drownt forges a new Scottish-Nordic myth and features Sheila Reid, Kiran Sonia Sawar and Amina Ben Ismail with music by Tyler Lewis and Tyr Jami.    

Website/social links   
http://www.rock-scree-drownt.com
http://www.neilcargill.jimdofree.com

(Modellkorrektur– Destabilization Processes and Adaptation Losses Vol. 2)   The conglomerate Modellkorrektur, consisting of Julia Scher, Tobias Grewenig, Dirk Specht and Sebastian Thewes, welds the interface of past, present and future in their radio play for the Studio Akustische Kunst. Destabilization Processes and Adaptation Losses (Vol. 2)” combines spoken word, electronic textures and rhythms, voice processing, and electroacoustic soundscapes. Similar to a guided tour, Julia Scher's voice serves as the fundamental element, leading the listener through various stations of a “theme park” where future, past, and present intertwine. In 23 thematic scenes, intricately interwoven, listeners encounter blended realities, commentaries from the future, documents from the past, and experimental live feeds of an extended present. Fictions, phantasms, speculations, and absurdities are included, as are references to central themes in Julia Scher's artistic practice within the visual arts. A dense, stimulating network of vocal sounds—sometimes linguistic, sometimes narrative, sometimes abstract—sonic drifting, and erratic grooves. Between ambient and noise, feedback loops, resynthesis, and coding. Symbolic orders and sorting algorithms. Or simply: Tomorrow will be like yesterday was like today. The members of the projectgroup are: Julia Scher – text/voice Tobias Grewenig – electronics/voice-treatments, processing Dirk Specht – electronics/voice-treatments, processing + recording Sebastian Thewes – electronics/voice-treatments, processing

1 Eleanor Lee and Yi Huang - Irrigation01 (10:00)
2 Daniel Ottini - Hinterland  (5:02)  
3 Spinning Voices - LOST SODDEN MEMORY (5:13)        
4 Edoardo Pistolesi Somigli - CYrce (BurrasKa) (4:53)      
5 Felipe Otondo - Makuta  (7:40)  

1) Eleanor Lee and Yi Huang - Irrigation01

From a distance:  
The image appears stable and unchanging.  
This reflects the surface-level perception of nature. When we observe nature in a broad, macro, and cursory way, we tend to regard it as stable, static, and seemingly unaffected by subtle human actions.

Up close:  
Subtle shifts at the bottom of the frame.  
When we magnify our perspective and look closely, we begin to notice delicate flows and hidden changes. Human attempts to reshape nature often bring about invisible impacts; even if we cannot easily perceive them, they are still unfolding.

This piece is a composition by Eleanor Lee, from Irrigation01, a work by visual artist Yi Huang. The soundscape focuses on the smallest gestures and forms between soil and the human body. During a field study in Kemsing, Eleanor and Yi recorded the sounds of soil, fields, and the surrounding natural environment.      

Eleanor Lee is a composer, producer, singer-songwriter and sound artist based in London. Her practice moves fluidly across electronic music, indie, contemporary and instrumental music, electroacoustic and sound art. Grounded in research-based music, conceptual composition, sonic fiction, hauntology, and the idea of m usic as archive, her work explores the residues of emotion, the layered temporality of memory, and sensory experiences that traverse both the personal and the social.
    
Composer | Eleanor Lee | eleanorlee.com / @eleanorleemusic
Visual Artist | Yi Huang | @abcdefg_.ijklmnopqrstuvwx_.z

2) Daniel Ottini - Hinterland  
 
Hin-ter-land (definition): the land behind a city or a port
This piece explores the odd landscape of a naturalized area wedged between an airport and an industrial zone.
Along the edge of Toronto Pearson airport, the Etobicoke creek runs through a naturalized area with a significant wildlife population; the area also contains several zones for airport operations and an industrial area.
Employing in situ field recordings, the piece transitions from the sounds of the natural word into the increasingly invasive sonic artifacts of human life; at first somewhat benignly, then increasing in intensity.
There is a strange crossover between the natural and human-made worlds, with wildlife, high noise levels, jet exhaust, and the equally invasive sound and odour from the industrial zone, intertwined; the natural world is preserved, but one wonders at what cost to the species that live (or could have lived) here.      
 
Daniel Ottini is a Canadian sound artist, field recordist, sound designer, and electronic musician whose work focuses on seeking deeper truths about human emotion and experience using sound as a medium of inquiry and expression. After a professional career of asking questions and an equal number of years as an electronic musician, his recorded works grew increasingly experimental, progressively incorporating field recordings and found sound. He expanded further into the realm of sound art, with multi-channel audio works. His current Sound Art practice utilizes documentary audio, field recordings, electronic textures, and spatial sound, to probe (and engage) the listener’s perspective    
 
https://www.instagram.com/danielottinimusic/
http://danielottinimusic.com/
ca.linkedin.com/in/danielottiniaudio

3) Spinning Voices - LOST SODDEN MEMORY          
 
In 2022, there was a catastrophic failure in an underground water main in my neighborhood. The pressurized water was sent shooting into the sewer system, getting forced into the surrounding homes. Dozens of homes had up to 2 feet of water in their basements and it led to millions of dollars in damage. But for me, the most damaging thing was the loss of several of my family's photo albums, many dating from before I was born and containing pictures of my deceased relatives.
As the work of reconstructing my home began, I was surrounded with noise all day for several weeks. A few days in, I started recording the construction sounds emanating from my basement. Years later, in 2025, I worked them into this track. It sounds angry because it is. I am angry that we're living through a time when infrastructure makes us feel unsafe.    
 
Spinning Voices is the music of David Boeser, a resident of Minneapolis, Minnesota, in the United States. He has been making electronic music under this name since 2008, across the genres of chiptune, synthpop, ambient, noise, improvisational, and some just plain unclassifiable.    
 
https://www.spinningvoices.com
https://spinningvoices.bandcamp.com
https://bsky.app/profile/spinningvoices.com

4 Edoardo Pistolesi Somigli - CYrce (BurrasKa)      

A reimagining_action of the Odyssey, where the shattering of the universe blends with the harried swaying of the sea. Poseidon is a skilled soccer player..., Polyphemus is not a shepherd at all but a talented homeless man, Circe relentlessly continues her magic tricks, and Argos never went into hibernation. Luckily, Odysseus's stern broke...    

Voice: Renato Sclaunich, born in Gorizia in 1967, lives in Bolzano and elsewhere. Poet=visual poet=sound poet=musician. He has published several books of poetry, aphorisms, and fables, and had solo and group exhibitions in Italy and abroad. In 2004, he founded the unstable collective Zwiebeltruppen. In 2012, he created Edizioni Scarabocchio. He also works as an iron sculptor.

Sounds+Freakquencies
Edø Pistø Sømi
Sound Designer
Born in Florence,Italy,1976- currently operating in Bergamo
Sound Research_Sound art_Freakquencies_Experimental DJing_DADA c::nnecti::ns
Ambient/Noise/Acousmatic/Psychoacoustic/ out-of-the-box projects
Station manager@ Dots Unlimited Radio    

https://duradio.net
https://disc0saur.substack.com/
FB: Edoardo Dottilio Pistolesi
LinkedIn: Edoardo Pistolesi Somigli

5 Felipe Otondo - Makuta    
 
Makuta brings together Afro-Cuban and Congolese rhythms with electronic synthesis and field recordings made in Chile, Kenya and England. Composed and produced at the Arts and Technology Lab of the Universidad Austral de Chile, the piece develops gradually through shifting rhythmic and textural layers, exploring how different sound materials can coexist and evolve within the same space, inviting focused listening rather than spectacle.    
 
Felipe Otondo is a Chilean composer and sound artist whose work centers on spatial audio and soundscapes. His music and installations have been presented internationally, and his research combines field recordings with new technologies. He is Associate Professor at the Universidad Austral de Chile and director of the Soundlapse project.    
 
http://www.otondo.net

6 Helga Luzhnikova - Pause for Noisewash     (8:00)
7 GARTH ERASMUS - THE THIRTEENTH DIALECT (14:54)      
8 Sophia Grubbs - creepie crawlie buggies (3:00)

6) Helga Luzhnikova - Pause for Noisewash    
 
This noise-ambient track cleans away everything unnecessary with sea waves and noises, leaving the space pure and ringing. The abstract loud sound mixture is like the feeling when you enter the water: for a moment it becomes scary, but another moment later you can see the underwater world and the little stones, and yet another moment later — you come up renewed and calm.
The composition uses field recordings from shopping malls, fields with cows, Batumi waves, beach stones, and noise synthesizers.
It can be listened to thoughtfully, immersing yourself, deep listening, meditation or in a state of cleansing. It can be played in the background at work for concentration and calmness.    
 
Helga Luzhnikova is a sound artist currently based in Tbilisi. Helga composes music and creates sound for indie-games and videoart. She seeks to organize chaos and notice the unnoticeable, operating at the intersection of magic and mathematics. Her artistic practice explores relationships between sound and states of the human psyche; dreams and wakefulness; everyday life and its micro-changes; music and action. Helga investigates how music can change people’s states, and how even sound can sometimes bring calmness and joy. She is most interested in order emerging from chaos, field recordings, found sounds, drone, ambient, noise, and other experimental genres.    
 
https://www.instagram.com/zvon.i.shelest/
https://soundcloud.com/luzhnikova

7) GARTH ERASMUS - THE THIRTEENTH DIALECT (14:54)        

South Africa is unique in the sense that it has 12 official languages (including sign language). This came about in the post-Apartheid excitement of building a new, open and free society. But in so doing, did a great disservice to the indigenous people of SA known as the KhoiSan whose language, Nama, was purposefully ignored and never conferred an "official" status. This was a strategic political move on the part of the government - if they do not acknowledge the existence of a First Nation then they do not have to honour the UN Charter on Indigenous People, to which the Govt is a signatory. As an indigenous artist and activist this audio piece was conceived to honour the struggle of my people for First Nation rights. It is a collage of my field recordings over the last years and follows my own journey of self-discovery through language and music.    

Garth Erasmus is a South African visual artist and musician whose work focuses on the indigenous people, the KhoiSan, which is his heritage. Garth is part of the indigenous activist music and poetry group, Khoi Khonnexion, who toured European music theatre festivals in 2018-19 with the musical theatre production House of Falling Bones on the Namibian genocide of the Nama and Herero people by the German colonialists. He is also part of the local free-improvisation community of musicians in Cape Town.  In 2020 Garth initiated the Africa Open Improvising collective at Stellenbosch University`s Africa Open Institute (AOI).    

https://soundcloud.com/garth-erasmus  
https://asai.co.za/artist/garth-erasmus/
https://soundcloud.com/user-610733588
https://www.instagram.com/gartherasmus/?hl=en

8) Sophia Grubbs - creepie crawlie buggies    
 
The vision for this piece was to create a sci-fi forest soundscape by imitating birdsong, crickets chirping, and other sounds from nature with electronically produced material.      
 
Sophia Grubbs (they/them) is a senior at Ohio University pursuing a Bachelor of Arts in Geography. Their major is titled "Sustainable Regional and Urban Planning" and they are also pursuing a music minor.

In 1885, a steam train passed through the city for the first time. For the children of the Elefsina, the locomotive was a dragon with iron legs. A preserved testimony from the day recalls:  

‘…when we saw it coming, it was as if an earthquake had happened. And when it let out a whistle, we all clung to the teacher’s trousers. It was a black beast. With big glass eyes. It released black smoke from its head and white smoke from its nostrils and its mouth… it seemed to us that it was rabid and wanted to bite us, to eat us all.’  

Elefsina is a site of both ancient and industrial significance. The city was the endpoint of the Sacred Way, a ritual procession walked from Athens by initiates of the Eleusinian Mysteries. Then came the factories, the oil refinery, the shipbreaking yard; industry building itself on top of the antiquities. The railway was part of this wave, the dragon that carried modernity into sacred ground. Then industry, too, withdrew. The railway fell silent in 2001. DIY gardens appeared along the abandoned track and ruderal plants pushed through the ballast. Ancient stone surfaced beside corroding metal. The site was reclaimed as a space of resistance the tracks an assemblage of temporalities, multispecies entanglements, and creative possibility. In January 2026, we discovered that the cycle had turned again. The gardens are gone, the plants removed and the ground has been cleared, ready for redevelopment. The dragon returned with new iron legs.

A Dragon with Iron Legs is a 35-minute immersive sonic collage designed for live radio broadcast combining site-specific field recordings from Elefsina, Greece (binaural, stereo, mono; hi-fi and lo-fi; digital and analogue), excavated sound fragments from various archival sources, and live electroacoustic performance using found objects (from the site and elsewhere), voice, lo-fi electronics, real-time digital signal processing, sampling, and spatial mixing. The sonic range moves between ambient binaural drifts and gentle aleatoric musings, through to harsh industrial interventions, sharp punctuations of activity, and juxtaposed sound clashes- shaped through dynamic interplay between both artists and the site itself, with Elefsina treated not as backdrop but as a third voice. Past and present build and collapse into a single unrepeatable broadcast.  

Framework: The Improvisation as Intervention  

The work is grounded in Sandy Sigala’s practice-based PhD research at Edinburgh College of Art, The Politics and Poiesis of Wastelands. The practice-based research explores the spatial and social legacies of wasted post-industrial landscapes across Europe. Using art-led inquiry Sandy investigates civic memory and contentious land narratives to critique contemporary debates about how value is produced, materialised (or not) in urban spaces.

The piece explores repeating cycles of construction, ruin, and reclamation along the Elefsina railway line, using the train track as a lens through which to encounter the wider landscape of the city. A place where ancient sacred ruins, industrial pollution, community gardens, and ruderal ecologies occupy the same contested ground. Our live improvisation mirrors the way humans have intervened in this landscape across every era, sometimes in harmony, sometimes in discord.

The piece draws on two years of field recordings collected across multiple visits to the railway line and its surrounding terrain. Each sonic gesture is an act of construction or erosion on material that was already there. The question the performance poses is the same question the site poses: what does it mean to add another layer to a landscape that has been built, ruined, reclaimed, and erased in turn?

Artist bios:  
 
Sandy Sigala (she/they) is research-led artist and educator based between Glasgow and Athens. A PhD candidate at Edinburgh College of Art; their work explores ethnobotany, the negative commons, and bricolage. Using humour to engage with materiality, currently collaborating with Urban Roots on a celestial garden project in Glasgow.

Joe Coghill is a multi-disciplinary artist, journalist, and experimental publisher with a specific focus on sound, video, and writing. Over fifteen years their expanded practice has operated from a liminal position, investigating the friction between human and technological processes, and how systems of classification determine what circulates and what disappears.
    
Website/social links  
http://www.sandy-sigala.com
https://www.discogs.com/artist/6359908-Joe-Coghill
https://www.discogs.com/artist/7856626-Free-Magic-Show

A Radiophrenia live commission for Lost in Transmission.

Recorded live at the Andrew Stewart Cinema, Gilmorehill, Glasgow, 11th June, 2026.

Biography:

Cara Tolmie spends much of her time oscillating between contexts as a vocalist, visual artist, performer, pedagogue and researcher. Her works have been performed and exhibited widely at art galleries, music festivals, biennials, conferences and in the public space – both as solo presentations and collaborative projects.

Her practice at large investigates the complexity of the bind between the voice and body - of how voice can traverse internal and external realities of both the sounder and listener and how it can research various qualities of embodiment, both pleasurable and disorienting. Within this she often explores performative techniques that dis/reorient the listening relationship between the singer and their audience through live uses of defamiliarised, mesmeric and repetitive vocalisation. This investigation also extends into expanded installations that include large-scale textiles and sounding metal sculptures. In these installations, such forms create integrated listening architectures that shape how voice resonates through space, inviting audiences to encounter sound not only as performance but as a material, sensorial and spatial experience.

Cara is currently finishing a PhD in Critical Sonic Practice at Konstfack, Stockholm titled ‘Internal Singing - Sounding Through Vocalbody Disorientation’. She collaborates regularly with Rian Treanor, Stine Janvin, Susanna Marcus Jablonski, Em Silén and Julia Giertz.

https://www.instagram.com/cara.tolmie

insula (n.) Latin, literally "an island" (also, in ancient Rome, "a block of buildings"); see isle. In anatomical use, the notion is "detached or standing out by itself." (etymonline.com). 

In June 2026, artist Viana Afoumou (vixnde) was sent to Scotland by Rotterdam-based Radio WORM to spend a week in Cove Park and to make a radio piece for Radiophrenia. Upon arrival, she disconnected her pink phone line (see bio), leaving her audience with an online voicemail box and the question: How do you isolate yourself in a hyper-connected society?

Fascinated in her youth by the tales of isolated adventurers, such as “The Consolations of the Forest” (Sylvain Tesson), “Into the Wild” (John Krakauer/Sean Penn), “The Call of the Wild” (Jack London), or “Walden, or life in the woods” (Henry David Thoreau), she came to Cove Park with a fantasy: Exploring new depths within herself through isolation, detached from the rest of the world, so to say “lost” in nature. Yet, she realised soon enough she would not be alone there. Not only was she sharing the space with other artists: Writer and producer Kate Bowen, visual artists Omid Asadi and Elham Rafiei, Roy Boswell, Maeva Totolehibe, Hormi Chen, artist and photographer Kate Bellanger and artist Caroline Galderisi. She also met all sorts of other residents among the different animal, vegetal, and organic species inhabiting the area. What does it mean to “isolate”, when being a part of, and surrounded by, ecosystems? 

“Life is a mystery. Everyone must stand alone. I hear you call my name! And it feels like…” (Madonna, Like a Prayer). Is this what solace feels like?

Bio:

Having been told since a teenager that her voice could sooth a stallion in heat, vixnde decided to take her talents seriously and to use them for the common good. In “Le Téléphone Rose”, your calls and voice messages (0909 - 7777 777, €0,15/minute) become an integral part of the radio show – streamed on Radio WORM and Operator Radio, two Rotterdam-based radio stations. Le Téléphone Rose is also a research project, questioning how we connect to each other in the midst of social media, and the (taboo) role of sex work in this search for connection.

*vixnde: pronounced viande [vjɑ̃d], meaning “meat” in French is the product of a lifetime by Brussels-born singer-songwriter Viana Afoumou. This neologism and analogy crystallises the discrepancies she experiences as a female artist; having realized that, to be a part of the music industry, she would have to brand, package and sell herself, all-the-while staying “authentic” and presenting original work. She decided to play with these contradictions, by becoming her own product. Her genre, Raw Pop, is a wink to the extreme categorisation of music, a pun to raw meat, and a reference to her sound. 

“Suddenly, I was surrounded by horses. I sat by the water to refresh my feet, then I laid down and I closed my eyes. After a few minutes, one of them came by and sniffed my nose. I was a bit scared but I stayed still. The horse was whispering a song”. - vixnde

https://vixnde-com.l.ink/
https://www.instagram.com/vixnde/

Four tunnels reach beneath Underfall Yard, linking Bristol’s Floating Harbour to the tidal River Avon. Below the brick Sluice House they meet the massive iron gates which are raised and lowered to protect the harbour from flooding and drain silt. Sluice activation induces currents that swirl, agitate and animate the water within.The motor-driven machinery is reaching the end of its working life and will soon be replaced. Melanie & Matt have been taking time there, recording, playing back and re-recording the old sluices’ poundings and groans: yielding resonant frequencies that fluctuate as the water held in the chambers rises and falls. These songs, collected raw and in situ, can be listened to in this broadcast. Underfall Yard Sluices are 4 underwater culverts, chambers and gates constructed in the 1830s. They work to maintain water and silt levels in the Floating Harbour within the city of Bristol Never before heard outside the Sluice House at Underfall Yard!     Artist bios:     Melanie Clifford works in translation between moving image, sound, drawing, broadcast, material and site, soliciting sensitivity to detail, to minor fluctuations and structural disintegrity.     Matt Davies works with the act of listening, live performance and the exploration of chance-based composition via the prism of 16mm experimental cinema. They are active members of Bristol Experimental & Expanded Film and have collaborated on expanded cinema projects and radio broadcasts since 2017..     Website/social links   audiblefields.com melanieclifford.net

Broadcast: May 4th, 2014, Kunstradio

"Midsummer Night's Dream in Tunnel Dubovica on Island of Hvar" is a radio art and electro-acoustic radio piece created by the renowned Serbian director and sound artist Arsenije Jovanović, . Originally broadcast by ORF Ö1 Kunstradio,  the avant-garde composition won a Bronze Trophy in the Sound Art category at the New York Festivals International Radio Program Awards.

The work explores the unique, haunting acoustics and atmospheric sounds of a tunnel near the picturesque Dubovica beach on the Island of Hvar, Croatia. Rather than utilizing a traditional linear narrative, Jovanović focuses entirely on psychoacoustic immersion. The piece captures the resonance of natural and human-made sounds echoing through the enclosed, cavernous space to evoke a surreal, dreamlike atmosphere for the listener.
 
https://www.kunstradio.at/2014A/04_05_14.html

Rails and Noise is a site-specific work that took place on 6 November 2025, alongside the railway line in northern Paris. The performance and recording were carried out without breaks; only the editing and mixing of the tracks recorded simultaneously were permitted. Participants included Matias Reyes, Natalia Rivera-Riffo, and Memo Dumay. Three artists of Chilean origin based in Paris. The work is unpublished; it was created for Radio Tsonami (Valparaiso, Chile) but was ultimately not broadcast. Our raw material is the rails and trains that criss-cross the territory, evoking an object on a planetary scale. The noises and sounds of the neighbourhood intertwine with electromagnetic waves captured by synthesisers and sound distorters, giving rise to a ramified proposal: the creaking of mechanical gears, the cadence of trains and fragments of noise form an acoustic topography in motion.
    
Artist bios:  
 
Juan Guillermo Dumay (Memo Dumay, Viridianos, el gran chufle), born in 1975 in Santiago, Chile, plays guitar in Panico, DIY band which draws on art rock and post-punk, also explores cumbia and noise genres. As Memo Dumay he creates site-specific works using different materials, such as multi-channel pieces and kaleidoscopic improvisations combining amplified sounds and raw noises. 
 
Natalia Rivera Riffo (born in Valdivia, Chile, Juillet 1982) is a multidisciplinary contemporary artist: sound arts, visual Artist and sculpture. 
 
Matias Reyes is dj a sound artist. The three artists are based in Paris, France.      

Website/social links   
https://echoliquide.bandcamp.com/album/echo-liquide
https://memodumay.tumblr.com/
https://www.instagram.com/mdemaudit/
https://www.gritoglaciar.cl/
https://juanguillermodumay.bandcamp.com/

In the fog, she wanders through the city: she walks with an unsteady step, immersed in dampness. She walks along the bends, drawn to the lights, yet still alien to the place she finds herself in. She will undergo a process of metamorphosis, a transformation that dissolves the boundaries between psychic theatre and tangible reality.
Baile Átha Cliath is the Gaelic name for Dublin. In English, it means city of the ford with obstacles: a liminal zone of indecision and passage, in which the protagonist wanders uncertainly.
la città, le stanze is based on a short story by Alessandra Marrucci. It seeks to explore its sudden images and its darker sides, bringing to the foreground the overlap between realism and imagination.
 
la città, le stanze (Baile Átha Cliath) by Mattia Benedetti / words by Alessandra Marrucci.    

Artist bio:  Mattia Benedetti creates acousmatic music, pieces for instrument and live electronics and A/V compositions. He’s interested in quietness, algorithmic and aleatoric techniques and the relationship between sound and words. His pieces have been presented in Europe, North and South America and Asia.    

Website/social links  mattiabenedetti.xyz

1 Audrey Delisle & Stockport Swimming Team - Chalice Must Run Dry (10:34)        
2 Marta Medvesek - Take an Acorn from Your Past Life and Plant It (9:53)       
3 Nicola Cappelletti - Tuning Limestone (17:13)  

1) Audrey Delisle & Stockport Swimming Team - Chalice Must Run Dry       

This piece was constructed through feverish back and forth dispatches of stems on Ableton - found sounds, unused source material and field recordings were blended and mixed into a hyperactive collage. External gear like no input mixers, effect pedals, radios etc can be heard throughout. Our intention was to have a stream of consciousness structure to implement the sounds we recorded and utilised in this piece, which makes for a disorienting, dreamlike effect. The use of abstract, unrelated sounds collaged together is a process we were interested in for some time, since we were influenced by musique concrete composers such as Lionel Marchetti and Jérôme Noetinger. We hoped to create a piece that felt cohesive and dynamic enough through its individual sections - segues were put in throughout longer sections in order to convey this idea. Source material from Robert Maycock was used in this piece - eternal gratitude.     

Stockport Swimming Team is a multi genre collage project from Glasgow, UK. Since 2021 he has amassed a series of releases on labels such as Retrac Recordings and rotten//trash, alongside his own label Welcome to Clydebank, which has been promoting experimental and noise music since 2020.

Not much is known about Audrey Delisle, but she has been quietly dropping intricate glitch/computer pieces under a series of different aliases - more releases are in the pipeline....     

Audrey Delisle:
https://www.instagram.com/sound.decollage/
https://spanishbreakcoresprinkler.bandcamp.com/album/ex-snowally

Stockport Swimming Team:
wtc.neocities.org/sst
https://www.instagram.com/boutiquetundra/

2) Marta Medvesek - Take an Acorn from Your Past Life and Plant It     

A piece about nature, and the nature of letting go. In dialogue with Shel Silverstein’s The Giving Tree and Mary Oliver’s Instructions for living a life.

Marta Medvešek is an award-winning multilingual audio producer based in Berlin and Zagreb. Passionate about the art of interviewing and the surprising turns real-life stories often take. Marta’s work has been featured on BBC Radio 4, Radio 3, and the World Service, Deutschlandfunk Kultur, rbb - Rundfunk Berlin-Brandenburg, the Croatian and Slovenian national broadcasters, and other international broadcasters and platforms. Since winning the Best European Radio Documentary prize at the 2021 Prix Europa, her piece “Fly or Die” has already traveled to festivals and classrooms in a dozen countries all over the world, and has been translated into four languages.     

http://www.martamedvesek.com
@martatlon

3) Nicola Cappelletti - Tuning Limestone     

Tuning Limestone—playing on the dual meaning of “tune” and “harmony”—is an exploration and mapping of the diverse sound phenotypes that shape the ecosystem of Prato, Tuscany. The project documents, processes, and reframes these sounds into a new compositional structure. Like the marly limestone that defines the city’s historic architecture and the nearby Calvana mountains—marked by veins of varying color and density—Prato reveals layers of historical, social, urban, ethnographic, and morphological intersections. These crossings leave resonant traces and shared heritage with strong timbral identities.

The sound research combined documentary field recordings with experimental techniques, activating materials, surfaces, mechanical objects, and vibrating bodies to explore their timbral potential and engage them in dialogue with their environment. Selected for their distinctive spectral and symbolic qualities, certain sounds articulate the composition’s structure, shaping a renewed soundscape that is both recognizable and imaginative.

Commissioned by Tempo Reale Firenze.     

Nicola Cappelletti (ITA/FRA) is an electroacoustic sound artist, performer, and composer. His research explores the relationship between acoustic sound and electronic processing across contemporary arts, including dance, visual arts, theater, and poetry. As a performer, he moves between popular music, rock, club contexts, and radical improvisation with prepared instruments, concrete sounds, and electronics. His works have been presented at major international festivals and conferences such as ICMC, Ars Electronica, NYCEMF, and the Seoul International Computer Music Festival. He is a member of the Opificio Sonoro ensemble, founded by Marco Momi, and teaches Electroacoustic Composition at the Conservatory of Cuneo, Italy.    
 
https://www.nicolacappelletti.com/
https://www.instagram.com/nikcplt/
https://www.facebook.com/nicola.cappelletti

1 Liactuallee - unripe, adolescent, tart, and sour (13:56)   
2 Cornil - Urgency to slowdown (7:15)    
3 jonesy jones - woolf worldings - tree eeko (00:36)

1) Liactuallee - unripe, adolescent, tart, and sour    

Unripe, adolescent, tart, and sour is a spoken-word audio piece written and recorded alongside the production of a soft sculpture, Plucked from Flesh. Composed during a residency in Germany, the work takes the form of a vulnerable personal essay by a textile artist, recorded from beneath a blanket. The narration moves between reflections on craft labour and the lived textures of adolescence, approached as a sensory and temporal state rather than a linear memory. Voice and making remain closely entangled: breath, hesitation, and repetition shape the rhythm of the piece. Resisting productivity-driven expectations of clarity or speed, the audio dwells in moments of awkwardness, tenderness, and uncertainty. It offers listening as an intimate encounter, where slowness becomes a way of staying with discomfort and incompleteness, and where the act of making opens space for reflection, softness, and unresolved becoming.     

I am a visual artist working with sculpture and installation through textile and craft-based practices. I live and work in Mumbai, India. Making art is an act of survival for me. The fragility of identity labels has led me to embrace transience and create worlds where my amorphous self can exist without negotiation. I weave ecological fiction, speculative characters, and fluid landscapes to propose alternative realities shaped by overlooked ecosystems. Through repetitive gestures—loops, stitches, marks—I build evolving environments through re-articulation. Grounded in hope, my practice values natural resources, human labour, care, endurance, and survival, articulated through my ongoing Stitchpunk Manifesto.     

https://www.liactuallee.com/
https://www.instagram.com/liactuallee/?hl=en

2) Cornil - Urgency to slowdown   

This was an experiment to reconnect with animistic practice that have been forgotten.
Recorded on acid trip, this performance cast a spell on speed and urge the listener to slow down, on an unconscious level.      

Based in Brussels, Jérémy Bocquet is a sound artist whose practice revolves around fostering dialogues between sound and space, deeply engaging in the nuances of auditory perception. His work intrica- tely blends poetic and philosophical dimensions of sound experience.

His versatile approach extends to sound collages that merge field recordings, musical fragments, and workshop traces, creating auditory paintings that evoke subconscious reactions.
Within the collective Ambient Lay Down and several workshops, he has developed a distinctive approach to spatial sound synthesis using modular synthesizers, crafting soundscapes through spatialization at audio rate.     

https://cornilmusic.bandcamp.com/
https://soundcloud.com/cornilmusic

3) jonesy jones - woolf worldings - tree eeko 

old memory
hits a ghost artery
sparking
a l c h e m y

This is the first dive in to the instinctive otherness of the expansive worldings of sounds.
This is a memory glitch switch making queer cacophony with the ghosts.
This is a Woolf swish fish in to the swirling abyss of ghost paths and archaic messagings. 
This is river life, woolfing in the luminous dark, curious in the heart beat -
pulsing the deeps - trans-ing the cares - immersing in the kindnesses  
of the non human world.
it seeks to be our P O M O N A       

a fugitive in the sound world
an escape artist from the theatre world
sometimes up - sometimes down - mostly upside down
dancing - looping - listening 
making - sometimes - faking
always d.i.y
in the radicals of resistances - deviances - protestas
seeking discoveries of new bellisimos queerissimos
for all our glory days

Tendril is an experimental radio piece built from found sounds, tape loops, synths, and field recordings. Informed by ecological thinking, science fiction, ambient music, and analog television, regiment conjures present and future pasts that coil around the listener, leaving behind a lingering sonic tendril.      

Artist bio:  
regiment is an interdisciplinary artist working across sound, installation, performance, and video.
Their sound practice is based around improvisation and features a wide array of electro-acoustic, semi-modular and analog gear, including tape, radio, contact microphones and field recordings.

In partnership with Heyse Ip, they create sculptural and sonic installations that have been exhibited in the UK, Austria, and Germany.
A member of the artist-run co-operative Five Years, regiment also works as a curator and producer.      

Website/social links  https://www.rgm-regiment.com/

https://www.instagram.com/rgm_regiment/

In five tracks ; Flat affect, ascetical, Plasma, ecotopia, Virága

Cross talk & frequency drifting pulls the strings of the heart & relating to loops and rough editing, audio drop outs , a Sonic Organic. A mix of forms in an expanding waves, nudging & slating whim , composition dealt in reality , a truth of intimate confessional & intruding a microphone , the tension of triggered sounds to ape pictures of life      

Artist bio:  
Shaun Robert (1966 - ) has been working with sound from an early age. Starting like many with a domestic tape recorder; years finger poised on the pause button; tunnelling into the present & falling into deep concentration; in a trance of coloured sound trials; impromptu expressions processed & filtered into moments of congealed sound; also using field recording, in voxpop & audio voyeurism, spoken word & singing. Feeling the next transition is about to happen; building deep relationships with that aesthetic; this interaction shows itself in within all his works. And the importance of sounds from analogue radio, magnetic tape manipulation can not be understated    

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