Mon 07

'birth and death of a planet' is an imaginary acoustic-ecology/soundscape recorded across deep-time, tracing the life cycle of an earth-like planet. opperating somewhere between documentary field-recording, ambient electronic composition, and science fiction, the work follows the planet's life as it violently coalesces into a celestial body, matures, thrives, and inevitably succumbs to the cold lifelessness of the greater universe around it. as science fiction, the work invites listeners to experience an epic sonic drama, an adventure story of peril, awe, and wondrous discovery filled in by their imaginations. as documentary, the work is an impossible time-stretched audio-portrait of our own planet's journey, of the precariousness of life, and of the fate of impermanence shared by all things (perhaps even the universe itself). the work invites meditatation on the past, present and future of our planet and solar system, and of life and death itself, inescapable even at a celestial scale.

Artist bio:
joshua elza breen-tucci (b. 1991) is an intermedia artist interested in areas where human invention - from the social to technological - mediates subjective experiences and broader understandings of lived reality. through a practice based in the creation of machines, systems and situations, josh explores interplays between control and autonomy, order and chance, which challenge passive observation and invoke precarious relationships of co-authorship with his work. through this methodology and critical framework, josh seeks to draw attention to phenomena and machinations of everyday life which are invisible, obscured, or otherwise overlooked. His formal interests include sound, kinetic-sculpture, and text.

A call centre worker, cold-calling to sell insurance, has one of her calls go to answer machine. Instead of hanging up, she leaves a message: she tells stories about silence, distance and time.

Artist bio:
Paul Rooney is an artist based in Liverpool. His installations, videos, writings and records focus on the instabilities and deceptions of narrative, particularly in relation to representing place: its everyday life; its history and folklore; its familiar strangeness. 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. Two of his installations were purchased for the Arts Council Collection in 2015.


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

Short form variations in song form and the pure noise of emotion ; from states of love, heart break & longing . Interception draw from illusional trance in counter anthropocentric conclusions, where free will it's self is hung. Including : visión conjunta, climax, lovlynes, Perish, Katzelmacher, decimated heart & elixirCross talk & frequency drifting pulls the strings of his heart & relating to loops and rough editing , audio drop outs , a Sonic Organic. A mix of forms in an expanding wave , 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 , a natural extension of play. 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 , of hauntological stylings , spoken word & singing. Falling apart to come together ; feeling the next transition is about to happen.


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

An immersive one hour broadcast, Stranger collages isolated street recordings, overheard candid conversations and interviews conducted with hundreds of chance encounters from around the world to create immersive soundscapes and audio essays. These pieces aim to explore and play with the medium of radio within a sound art context.

The project synthesises a wide-range of research areas including social documentary, surveillance, musique concrète, anthropology, street photography, genre art and audio description.

Artist bio:
Stranger is a sound art project by UK-based artist, composer and musician Matthew Ward. As of 2024, his work has included a full debut album, international radio broadcasts, film soundtracks and art installations.

Website/social links
https://matthewward.neocities.org/
https://matthewwarduk.bandcamp.com/

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

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

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

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

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


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

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

'DOG FM is the debut release by the London-based duo of field recordist Oliver Chapman and poet Phoebe Eccles. Combining Chapman’s seemingly banal snapshots of a family car journey with Eccles’ fantastic, reflective spoken verse, DOG FM deftly transports the listener through a series of uncanny and oft-times bizarre audio travelogs where tension and expanse alternate to disorientating effect. By exploring the dynamics of a typical close-quarters family exchange, and with repeated use of ‘canine’ annotation, Chapman reimagines the car as both a confine and a means of escape, with Eccles’ verse acting as thematic glue, bonding memory, dream and textural reference to the road map. DOG FM brings a multifaceted lens over a commonplace event, exploding our expectations, and allowing us to surrender the wheel —and our fate— to kismet outcomes.

May.
The Hebridean island of Raasay.
From a beach below Gualann na Leac walk up the slope to the path, the cairn and the milepost. Follow the track north into the birchwood and walk down through the woods towards the waterfall; stop on a small bluff. Retrace my way, cross the Hallaig Burn, walk up the hill to the lost (by edict of a nineteenth century landlord) village of Hallaig.
Walk the stones of the houses.
Walk back, south, cross the burn at the ford. Walk on, beyond the milepost, then turn, and walk down the slope to the beach.

Artists biography:
I am a walking sound artist based in Newcastle upon Tyne. My practice reflects my experience of being in, and walking through, natural environments. I use recorded sound to present time, distance, place and movement in the landscape, to provide an opportunity for a listener to consider what it means to move through the landscape at a human pace and scale. Spoken poetry offers detail to a listeners’ experience. I have exhibited nationally and internationally and have created radio works for Framework Radio, Resonance EXTRA and Radiophrenia. I have a PhD in Fine Art from Newcastle University.

Links to website and/or social media
https://martinpeccles.com
https://soundcloud.com/mpeccles

1) Mattia Benedetti – fading (7:20)
2) Home Secretary - dry the tips of your hair (4:54)
3) Simon Whetham – Channelling Tk 6 (4:28)
4) Nguyen Hoang Gia Bao - Làm phiền cả thế giới _ world-bothering (2:41)
5) Jorge Ramos - Song of Happiness #1 (11:00)
 
 
1) Mattia Benedetti – fading

… not quite collected, caught in fleeting emotions. This is a game of filters and mirrors: filters of different disciplines and rationalities (writing and reading , listening and composing); mirrors of different emotions and subjects (the lover leaks into the reader while the reader leaks into the composer while the composer leaks into the writer while…)

This is chaotic piece, not quite coherent, devoid of embellishment.

Mattia Benedetti is a composer. He lives in Venice.
He's trying to create music that resembles an open world, without a centre but full of internal connections and ambiguous self resemblances.
He's trying to create music that resembles an island, isolated from everything, an extreme habitat where only endemic organisms lives.

 
2) Home Secretary - dry the tips of your hair

From the LP Past Lilys
https://homesec.bandcamp.com/album/past-lilys or https://cardboardclub.bandcamp.com/album/stamen-and-pistil-are-husband-and-wife

 
3) Simon Whetham – Channelling Tk 6
 
Channelling is a kinetic sound performance that utilizes various components salvaged from discarded and obsolete consumer technology, reanimating them by piping amplified sound through them. The motors and mechanisms respond to these sound impulses in erratic and unpredictable ways. The actions of, and emanations from, the devices are subsequently amplified.

Since 2005 Simon Whetham has worked with sonic activity. He often uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. He also explores ways of creating physical traces of sound and transforming energy forms.
Whetham performs and exhibits internationally, has received a large number of commissions and awards, has many published composed works and regularly collaborates with other artists. In addition his practice covers giving active listening, field recording and technology repurposing workshops.
https://simonwhetham.co.uk/
https://www.facebook.com/simonwhethamartist/
https://vimeo.com/simonwhetham
https://simonwhetham.bandcamp.com/

 
4) Nguyen Hoang Gia Bao - Làm phiền cả thế giới _ world-bothering

nHữNG NgÀY kHÓ ở Ở trêN đỜI // thoSE hArD-TO-liVe dAYS was a collection of 5 selected poets, written from 2021 - 2022 by Nguyen Hoang Gia Bao. Each of them was originally a statement of confrontation with the socially constructed so-called "nature", juggling between binaries of man & woman, love & hatred, individualism & collectivism, and so on.

As a way to deconstruct the "nature" concept, the anthologies were later exhibited in a digital space with an invitation for community manipulation. Readers were encouraged to rewrite or delete the words in their own interpretation and stylistic choices. The latter would work on the former's version/interpretation.

The audio version was captured in time of the 6th version, recorded and mixed by the original author as a means of reclaiming and authorship. The sound mixing is intentionally "left" because everything is not "right".

Nguyen Hoang Gia Bao is a Vietnamese writer and multidisciplinary artist. He embraces multimedia and expression, such as typography, photography, film, sound art, performance art with a core appreciation of poetry practices. His works have been featured in Vânguard Zine (Issue 6), Sui Generis (Bard College, 2024 Edition), WCBX Zine, etc. Bao is currently pursuing a BA Degree in Art and Media Studies at Fulbright University Vietnam.
https://www.instagram.com/nguyenhoanggiabao_/

 
5) Jorge Ramos - Song of Happiness #1

Song of Happiness # is a work with a strong passage in the form of a song in which I put together two of the activities that make me happier, writing music and making music. It is a live performance with a degree of freedom of interpretation so it is likely to sound different each time it is presented. The composition itself is rewritten every time I interpret it, that is, the interpretation is by itself the final act of the composition of this work. This piece is dedicated to the director Alfred Hitchcock (1899-1990).

Jorge Ramos is a Portuguese multiple award-winning composer, sound artist, and researcher based in London. He has written solo, chamber, symphony, mixed, electroacoustic, live-electronics, film, stage, installations, and advertisement music for festivals, orchestras, ensembles, and soloists across Asia, North America, South America, and Europe, while also collaborating with other artists computer music design.

Jorge Ramos holds a Doctorate in Music Composition granted by the Royal College of Music London. He currently serves as a collaborator at The ACTOR Project — Orchestration practice in the 21st century (CAN) and CESEM ESML (PT). He is an European Network of Opera Academies Artist.
https://jorgefpramos.com
https://www.instagram.com/jorgefpramos/
https://www.linkedin.com/in/jorgefpramos/
https://www.facebook.com/jorgefpramos/
https://www.youtube.com/JorgeFPRamos
https://x.com/jorgefpramos

6) Vincent Eoppolo - Descending Night (2:33)
7) Frederico Pessoa - Biofonia (biophonia) (10:16)
8) Jeff Gburek - Heliopathy 4 (10:10)
9) Adrian Laugsch –Spasms Of My Aching Heart Lamento 3 (2:35)
 
 
6) Vincent Eoppolo - Descending Night

Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world.

Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw
https://soundcloud.com/vincent-eoppolo

 
7) Frederico Pessoa - Biofonia (biophonia)

"Biofonia" is a sound piece composed from field recordings of birds singing at dawn during springtime. These recordings were altered through various filters, composing a new soundscape that calls for our attention to voices of beings we do not recognize but that are part of that complex sound environment full of life. As a metaphor for our deafness to the non-human beings that cohabit the world with us, the piece "Biofonia," with its piercing sounds, suggests breaking down the auditory barriers we have imposed between ourselves and our surroundings.

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

 
8) Jeff Gburek - Heliopathy 4

After several month traveling and recording Very Low Frequency radio waves and taking measures to anticipate probable Schumann resonances from my locations, I have begun generative compositions with whole recorded segments and sampled fragments whille keeping the radio antenna window open locally. Most of these recordings took place during the Coronal Mass Ejections and resultant geomagnetic storms of 2024 as we reach solar maximum. While we notice the term heliocentric refers to a direction of attention, heliopathy addresses the globular sensorium and the feeling of the solar entity that informs our surroundings spherically -- with some cracks and gaps for extra radiation opening here and there.

Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions.Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux.Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acousticsof Gaian whispers enveloping and composing existence.
http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com/

 
9) Adrian Laugsch –Spasms Of My Aching Heart Lamento 3

"Spasms of My Aching Heart" unfolds somewhere between a kitschy concept album and an AI-generated opera. Consisting of five originally AI-generated (but heavily revised) songs, the album delves deeply into the potential of technology in dialogue with trauma, kitsch, and pathos, striving to create a form of post-digital emotionality and artificial opulence. Shaped by kitsch theory, queer camp, and the aesthetics of Schlager music, the songs embrace their (over)expressivity with seriousness while remaining fully aware of their own absurdness.

Adrian Laugsch (*1997) is a german-polish composer/performer/soundartist.
Based on his musical interest in historical, (auto)biographical, and nostalgic sounds, his compositional work is significantly shaped by the desire for the substantive expansion of the sonic through theatrical, interdisciplinary, and multimedia strategies.
This may range from extra-musical concepts and narrative arcs to the explicit use of stage and video, intertwining traditional formats such as concert, radio play, album, music theater, and installation.
Consequently, his thematic focus lies on queer, hybrid, non-normative, and transgressive identities, as well as the exploration of post-digital artificiality and meta-religious opulence in the staging of socio-political mechanisms.
https://www.adrianlaugsch.com

From Lost to the River explores the ways in which the relationship between humans and other bodies of water that has been lost in the city of Târgu Mureș/Marosvásárhely, especially around the Mures/Maros river.

In the piece, layers of history are interwoven, and it remains a real question whose story we are witnessing: water is present in all its grandeur, in its alienness as a force of nature, and at the same time as an agent present within/among us that nourishes and supports direct human relationships or community and allows deep understandings.

The non-linear narrative of the piece creates a highly experiential space in which listeners can simultaneously discover traces of their own history and the all-pervasive presence of water by calling on time-traveling water and electromagnetic waves.


Artist bio:
Isabel Val (Barcelona, 1988) is an artist working across mediums with a special interest in sound, image and text. She researches nostalgia, grief and the invisible connections between past and present.
In her work, human experiences are transfused, opening up a multidimensional space that tingles with emotion and experience, interweaving us unobtrusively, opening up connections between humans, communities, knowledge and the other-than-human.


Link to download audio/images:
https://we.tl/t-wCOj8RrMww

Website/social links
https://www.isabelval.com/
https://www.instagram.com/isabel_val/

1 Aleksandar Zečević - Calling-Raumforderungen (5:31)
2 Chin Li - A Few of Everything (11:47)
3 Jeff Gburek – Formicaphony (8:24)
4 Eve-Marie Bouché - The magic of waves (3:12)
 
1) Aleksandar Zečević - Calling-Raumforderungen

Sascha Stadlmeier from "Emrege label recorded sounds for the giant gas tank in Gaswerk in Augsburg, Germany.  Using her recordings, I created  “Musique concrète work  that has a “leitmotif “ motive of call and response

Aleksandar started his career in sound design in 1986.Upon completion of a music conservatory and technical college, he started working in Radio Television Belgrade, Studio B, Radio Belgrade Studio for Electronic Music and Belgrade National Theater. Under the mentorship of the Belgrade University Professor of Sound Design and Radiophonic Art Zoran Jerković, he continued his education in theory and praxis of sound design, recording and electroacoustic until his departure to Canada in 1992. In Canada, he works as a freelance Sound Engineer, Audio Designer, Sound Artist and Electroacoustic Composer on film, television, multimedia media projects and performances until present

https://aleksandarzecevic.com
https://www.facebook.com/alekszecevic/
 
2) Chin Li - A Few of Everything

Poetry is but words / Words are but sound / Sound is movement of air brushing ear drum / When air stops, ear drum stays still / Words vanish / You would ask, would you not? / Where has the poet gone?

Chin Li is originally from Hong Kong but is now living in Edinburgh. He has worked as a clinical psychologist in the English as well as the Scottish NHS mental health services for many years before turning to writing full-time. His fiction and poetry are published in various literary journals and magazines, including Confluence, Glasgow Review of Books, Gnommero, Gutter, Litro, MAP, Postbox, Southword and Unpsychology. Some of his audio works have been broadcast on Radiophrenia over the past few years. He is still learning how to tell stories truthfully.

https://soundcloud.com/user-54598277

3) Jeff Gburek – Formicaphony

An ant hill mob associates with two exposed hydrophones on a summer day in 2024 in Wielkopolska.

Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions.Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux.Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acousticsof Gaian whispers enveloping and composing existence.

http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com/


4) Eve-Marie Bouché - The magic of waves

“I discovered that I had magical powers, the powers to transform the world's soundtrack, to make it a better place to live...”

"The magic of waves" is an English adaptation of "La magie des ondes" (1rst prize (Short forms category) at Grand Prix Nova Romania 2023, 3rd prize at UK International Radio Drama Festival 2023).

Eve-Marie Bouché is an author (theater, children's book, radio drama...). In 2017, she learnt sound editing and loved this possibility of writing with sounds too, not just with words. Since then, she has taken technical training courses and began producing her own sound works.
Her self-produced plays have won several international awards (Grand Prix Nova Romania, UK International Radio Drama Festival...) and she has worked with professional audio producers (Kidsono/ Opéra de Paris, Falling Tree productions / BBC4, Arte Radio, France Inter...).

https://soundcloud.com/eve-marie-bouch
http://evemariebouche.net

This sonic documentary has been recorded and produced as a soundscape by Ilaria Boffa for her poetry book Beginnings & Other Tragedies/Inizi e Altre Tragedie, published by Valley Press UK in 2023.
The book and the sonopoems presented here draw on ecopoetry, dystopian fiction, and Greek tragedy, and reimagine scientific and ecological language as sites of beauty, with the strength to change reality.

Field recording taken by Ilaria Boffa in Venice, the Euganean Hills and the Bacchiglione river (Italy) using Zoom H6 recorder and JRF D-series hydrophone. Performance on violin by Ida di Vita.


Artist bio:
Ilaria Boffa is an Italian poet and sound recordist. She writes bilingual poetry and she has published four poetry collections to date. She is one of the eight authors included in the North East American Publication ‘Writing in a Different Language’ Vol. XL 2018. Her sono-poems, which combine poetry and field recording, have been played at international experimental sound art festivals, radio events and film festivals. She is a permanent member of EAPS international collective working with poetry and sound art and she is collaborating with the Swiss theatre group ‘Collettivo Treppenwitz’.

Website/social links
https://linktr.ee/ilariaboffaIB
https://soundcloud.com/ilaria_boffa/
https://www.instagram.com/ilaria.boffa/
https://www.facebook.com/ilaria.boffa.IB/

The semantic context of fire is antagonistic: on the one hand, it stands for renewal, warmth, light and cleansing. On the other hand, it stands for destruction and the cause of death. In art history, the fire has gained utmost importance through Otto Piene and Zero, but also Yves Klein. Piene’s smoke and fire paintings may be understood as part of a complex that aims at making immaterial light tangible. Klein focuses on the destructive force of fire in his public art campaigns and extensively transforms the surfaces of canvas by means of flamethrowers. Thematically, this piece narrates this semantic context of fire, originating from raw fire, through the fire myth, to the destructive power of fire, its creative force and of fire eventually becoming light.

Artist bio:
Christian Dimpker is a composer and art theorist with academic studies in Philosophy, History and Sound Studies as well as a doctoral dissertation in Musicology / Composition. Dimpker’s compositions explore unconventional fields of notation. This is enabled by an extensive notation system for extended playing techniques and electroacoustic music. This treatise with the title Extended notation: The depiction of the unconventional has been released by the LIT Verlag publishers. Currently, Dimpker further extends this research to the fields of visual arts, theatre and dance. The monograph Kinetic notations for the visual and performing arts forms the basis of this work.

Website/social links
https://christiandimpker.de

A creative audio documentary exploring questions of voice and listening from scientific, artistic, philosophical and political perspectives. Who – and what – do we deem capable of having a voice, and worthy of being listened to? And how does the way we listen affect our ability to hear the conversations that are going on around us? Samar Nasrullah Khan is philosopher whose work is focused on developing strategies for “listening to the other – the human, non-human, thing”. This piece explores Samar’s work listening to, and with, cows, and the experiences which have shaped their* fascination with ideas of voice.
 
Credits: Produced and edited by Katie Revell, under the mentorship of Yasmina Hamlawi. Mix and master by Ev Buckley. Featuring music by Col Gordon. Produced as part of the YASS! mentorship programme.

YASS! You are so sound! is a one-to-one mentorshipprogram for emerging or experienced authors and audio artists of any age.

https://www.luciafestival.org/en/yass-mentorship-program-2324

Bio: Katie Revell is a Glasgow-based audio producer with a particular interest in food, farming and relationships between species. She has produced several podcast series and have also made pieces for Radio 4’s Short Cuts and Radio Scotland’s Out of Doors.

Links:
https://katierevell.com/
https://www.instagram.com/spokentwice/
https://www.luciafestival.org/en/

Yve Lomax - Quer - ep 1: Upside down sunflowers (8.09)
Phew - Snow and Pollen (5:08)
 
Yve Lomax - Quer
ep 1: Upside down sunflowers 

Synopsis: Quer is a single voice spoken performance that moves through various modes of address, mixing the poetic, philosophical and the everyday. It is an experiment in how to say something and touches upon things considered pressing for living today. This includes: violence and the cry Why am I being hurt?; attentiveness, justice and ceasing to treat the Earth as a property to be owned; nonviolence and the magic of compassion; dissolving the distinction between ‘us’ and ‘them’; the question of belonging and how saying ‘I am queer’ up-ends it. Quer ends with the assertion that all of life is profoundly transverse and plays upon the old meaning of ‘quer’ as oblique, transverse.
 
Credits: With thanks to Jono Lomax (sound) and Vit Hopley (script). Thanks also to Kristen Kreider.
 
Artist bio: Yve Lomax is a visual artist, writer and editor. She is currently a director of and editor for Copy Press publishers and its audio-visual platform Becoming Fireflies. Since the late 1970s she has exhibited nationally and internationally. Her first book of collected writings was published in 2000 under the title of Writing the Image. Recent publications: Here from There (a shared book with Vit Hopley, 2024); Nearness (2019); Figure, calling (2017); Pure Means (2014). Films/spoken performances include: Mad about justice (2022) and Political Life (2021).  Formally, she was a Senior Research Tutor at the Royal College of Art and Professor of Art Writing at Goldsmiths, University of London. Besides feminism, a longstanding concern has been writing for spoken performances.

Website/social links:
copypress.co.uk
 
Phew - Snow and Pollen 
From the album 'New Decade. 
https://phewjapan.bandcamp.com/music

"Administrative Embrace" grants unprecedented access to the inner workings and concealed logic of the enigmatic Office for Joint Administrative Intelligence. This transmission crosses rustbelt landscapes, pedestrian tunnels, flyovers, debris fields, and timelines, charting states of decline, delirium, immortality, and heroic obedience. Listeners are invited into the vast and impressive O.J.A.I. world headquarters. Through spoken word, modular sounds, architectural and bureaucratic fictions, lists, timelines, and ambient musical accompaniment, "Administrative Embrace" offers an hour-long exploration into institutional conjuring, information overload, camaraderie, and magic."

Produced by O.J.A.I. in 2024/25 for Radiophrenia Glasgow

Text and voice by Gary Farrelly
Sound and mix by Chris Dreier
Piano by Tim Löhd

Dexia Defunct (Sonic Explorations to the European Rustbelt) - Charleroi I (2021)
Dexia Defunct (O.J.A.I.) - Capital Flows (2023)
Dexia Defunct - Credit Rating (2016)
MK/CT (Chris Dreier/Tim Löhde) - MK7 Shieldfields (2017)
Dexia Defunct - Rücksichtslosigkeit (2016)
Dexia Defunct (O.J.A.I.) - Stay Off (2024)

Biography:

Office for Joint Administrative Intelligence (O.J.A.I.) is the collaborative practice of artists Chris Dreier and Gary Farrelly based in Brussels and Berlin. The work is fuelled by recurring fascinations with architecture, infrastructure, finance, esoteric practices and institutional power manifesting in postal correspondence, installations, sound, performance and walks as well as limited vinyl editions and publications. The work has been presented at Hugh Lane Gallery (Dublin), Damien & the Love Guru (Brussels), Centre Wallonie-Bruxelles (Paris), Marres House for Contemporary Culture (Maastricht), De Garage (Mechelen) and Contemporary Art Center (Cincinnati, US), among many others.

O.J.A.I. produces a monthly music radio show for Dublin Digital Radio and for Cashmere Radio Berlin.

Links:

https://jointintelligence.org/    @jointintelligence

1) Martyna Szmigiero – Clydebuilt (3:17)
2) Paige Wynn - Imprints of a Broken Woman (5:00)
3) SumVivus - Sound etchings (5:02)
4) andre birken - 31 monstrous demonstrations - O.T. BISHER (FEAT NO-ONE) (4:06)
5) Elizabeth Flood - wishes for and wandering towards the new year (8:51)
 
 
1) Martyna Szmigiero – Clydebuilt

A binaural soundscape, originally composed as an immersive soundtrack in Dolby Atmos for the short film “Clydebuilt” (2021), sonifies the rich history of Glasgow’s shipbuilding industry. Inspired by the documentaries “Seawards the Great Ships” (Harris, 1961) and “The Men Who Built the Liners” (BBC4, 2009), the piece captures the echoes of the River Clyde’s industrial past. This musique concrète-inspired soundscape weaves together found sounds, field recordings, and archival audio, evoking the spirit of the workers and the rhythmic pulse of the shipyards, once a hub of craftsmanship and industry.

Martyna Szmigiero, aka svefn, is an audiovisual artist and sound designer who creates electronic music, spatial audio experiences, and visual media scores. With a foundation in classical training from Lódź Music School, Szmigiero's work has developed into a distinctive style combining cinematic sound design with electronics. They have collaborated on various audiovisual projects, including scoring the trailer for “Noc Henny” (2022) and re-scoring classics like “Meshes of the Afternoon” (2021). Szmigiero's recent work with Higher Order Ambisonics showcases a technical ability to create immersive sound environments, demonstrating their commitment to innovation in music composition and sonic storytelling.
https://gsapostgradshowcase.net/martyna-szmigiero/
https://vimeo.com/martynaszmigiero
https://soundcloud.com/svefn_martyna_szmigiero
https://www.instagram.com/_svefn_/

 
2) Paige Wynn - Imprints of a Broken Woman

Imprints of a Broken Woman explores the feelings of emptiness and pain that come from loss and how they spiral out of control. The piece provides a window into a private moment when feelings can be released. In the shower we wash, find relaxation and vulnerability and in this vulnerability we feel our pain most deeply. This is an expression of a deep loss of my own, when love is forced to be let go and all that is left is the sounds of sobbing and screaming.

Paige Wynn is a trans composer, violinist, and educator with a passion for chamber and orchestral music. She is currently based in Worcester, Massachusetts and originally from Toronto, Ontario. She graduated from the University of Toronto with a Bachelor of Music (Composition) studying under teachers including Gary Kulesha and Abigail Richardson. She also completed a post-graduate program for Sound Design and Production at George Brown College in 2022. She is dedicated to the promotion of arts and has had her music and sound pieces performed in countries around the world, including Canada, Germany, and the United States.
https://www.paige-wynn.com/
https://www.instagram.com/questing_bard/

 
3) SumVivus - Sound etchings

This work is sounds that etch into our primal existence and help us leave the walls we have placed our selves in. It helps us separate from the separateness and sink into a trance we have always known. Or at least thats how my ears hear it. Who knows, you tell me...

SumVivus (Rashelle Reyneveld), a solo artist, creates ripples through vocal sound waves looped to create a choral ensemble of one. An ephemeral improvised or predefined ethereal expression of the space and time that she inhabits. An ever evolving experience creating honest intimacy with the moment. She uses collected sounds, piano, bells, singing bowls, chimes and whatever sparks imagination.

@sumvivus

 
4) andre birken - 31 monstrous demonstrations - O.T. BISHER (FEAT NO-ONE)

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

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

 
5) Elizabeth Flood - wishes for and wandering towards the new year

wishing for and wandering towards the new year is a radio collage made from audio diaries and field recordings taken during a year of play and learning in the East Leverett Meadow in Massachusetts. The piece was an act of self synthesis, an attempt at sharing the belief that we can hold sound as a way of knowing, we can know much through sound, specifically listening. The work explores the intimacies and vastness of radio, the speaker sharing desires directly to the listeners while the seasons blend into one another and sopping puddly land connects scene to scene. May it encourage you to listen openly.

Elizabeth Flood grew up in Massachusetts and currently lives in Chicago, IL. She likes to go on walks, talk on the phone, eat dinner with friends, and take ballet classes. Flood's radio work is interested in playing in the blurry space between transmission and reception, signal and noise, dreams and waking, here and there. She is curious about what radio would sound like if we didn’t listen ‘to know’? She tends to find work (and play) most interesting when creating a system and being curious about the outcome, rather than seeking a particular end result.

6) Alexandra Bell – Vacuum (7:00)
7) Kristina Kapilin & Ojasvani Dahiya – FLUX (15:21)
8) Kyle Vanderburg - Creatures from the Black Bassoon (8:30)
 
 
6) Alexandra Bell – Vacuum

"Vacuum" presents the sound journey of a lone woman getting home after a Saturday night out in Glasgow. The title infers that women's safety fears are often not heard. The work was thematically inspired by movements such as 'Reclaim These Streets' and the 'Seven Steps' programme, which give practical advice how to be an active bystander near a woman walking alone. Seven footsteps are used repeatedly through the work as music concrete and a call to action for the listener. The piece was created using 1 a.m. recordings on public transport, outside clubs, lonely walkways and tunnels across Glasgow & Edinburgh, looped to represent lack of change. It is layered with spatialized sonic markers of visceral unease and cultural references such as gas lighting, moths to a flame, alarms, 1946 Ferrier recordings of Britten's 'Rape of Lucrezia' and interrupted voices.

Alex Bell is a multimedia artist, composer and chartered materials engineer who uses the sonic arts to confront entrenched ideologies and beliefs. Incorporating sound, music, moving image, sculpture, writing and performance, she creates immersive experiences which are designed to challenge perceptions and stimulate empathy for the counterargument. She explores the intersection between culture, politics, the arts, technology and science and believes that the creative process is universal regardless of domain.
Originally from Belfast, she now lives in East Lothian with a studio by the sea.
https://alexandrabellsound.com/
https://www.instagram.com/alexandrabellsound/

 
7) Kristina Kapilin & Ojasvani Dahiya – FLUX

Taking a hydro-feminist approach, FLUX highlights the interconnectedness of bodies of water through the use of hydrophone recordings, documentary storytelling and spatial sound.

Led by the interviewees’ discussions of their lived experiences, FLUX addresses the nostalgic view of rivers in childhood memories in juxtaposition to ecological crisis, colonial history, national identity and religious rituals, providing insight into the significance of rivers in communities worldwide.

Kristina Kapilin is a Danish-Faroese multi-discliplinary artist and sound designer based in London.
Her practice explores the relationship between voice, language and identity and our experience of landscapes, environments, ecologies, places and histories. Frequently collaborating with other artists and creatives, Kristina’s practice moves across sound, installation, performance and film.

Ojasvani Dahiya is creating interactive and immersive experiences that look at realities of the past and future which are grounded in the present. She is experimenting with emerging forms of technology to create visual experiences informed through sound. Her areas of interest are how post-colonial urban and natural landscapes inform identity.

Kristina Kapilin
Website: kristinakapilin.com
Instagram: @kristinakapilin
Ojasvani Dahiya
Instagram: @0jasvani

 
8) Kyle Vanderburg - Creatures from the Black Bassoon

Creatures from the Black Bassoon is, as the title suggests, a virtual menagerie of beasts and environments fashioned entirely from processed and unprocessed sounds of the bassoon. Key clicks, reed squeaks and squawks, multiphonics, notes played through various stages of assembly and disassembly, and other traditional and extended techniques are organized by similar properties into species. Some of our creatures appear to be cute, chirpy, fuzzy critters, while others are vicious predators. These beings are placed in a number of tableaus of length devised by the golden ratio, with certain sections designated as "windows" with substantial contrast to the surrounding sections.

Composer Kyle Vanderburg (b. 1986) grew up in Missouri where the Ozarks meet the Mississippi River valley. Raised on southern gospel and American hymnody, his music walks the line between eliciting nostalgia and devising innovative sonic worlds.  His electronic works often play with familiar sounds in new contexts; his acoustic works feature memorable melodies and a very fluid sense of time.

He holds degrees from Drury University and the University of Oklahoma and has studied under Carlyle Sharpe, Marvin Lamb, Konstantinos Karathanasis, and Roland Barrett. He'd be delighted if you checked out KyleVanderburg.com.
https://kylevanderburg.com

This work is created from interviews and archive footage of people who served as medics in the armed forces. They range from the first world war to present day. The piece is intended to be a continuous loop, so you can come in and sit as long as you please, there is no start and no end.

The structure of the piece was based on data from the Office of National Statistics, detailing the amount of armed service people who died per year from the first world war to present day. Each year is attributed a minute in the piece, and the heartbeats that you hear are set at the bpm (beats per minute) to the number of deaths via a data-based algorithm. The intensity of the rain noise is also fluctuates with the frequency of the number of deaths.

A Cryptic Commission for Sonica Festival

Artist bio:
Amble Skuse is a musician and artist, working with found sound, voices, electronic processing, and site specific locations. She works with site specific compositions to explore myriad identities in myriad locations. She explores these ideas of identity and power through a lens of intersectional feminism. Her focus is on gender and disability, and she is currently studying for a PhD looking at ways in which a disabled composer / performer can ustilise technology as a tool for composing, improvising and performing.

Website/social links
http://www.ambleskuse.net

Smetana's Solitude is a soundscape composition in four chapters. In this composition, I imagine what Smetana might have heard and imagined during his stay in Pěčice (and Jabkenice). I made field recordings of four distinct categories (human activity, frogs, water, and birds) and dedicated a chapter to each category. I made collages out of the field recordings and further manipulated the sounds to symbolise Smetana's mental health problems and deafness. Through these health issues, I imagine he was not hearing the sounds in their natural way but rather imagined them. Smetana's Solitude was created during a month-long residency at the Cabin Studio in Pěčice, Czechia. The rural setting made it ideal to work with field recordings and experiment with hydrophones (to capture underwater sounds) and geophones (to record vibrations).   It is combined with a soundwalk around the cabin studio.

Artist bio:
Samuel van Ransbeeck is a sound artist and researcher. His main interests are sonification, soundscape composition, and digital humanities. His work is interdisciplinary and collaborative, always looking for new ways of expression. He has worked at several Universities and research institution around the world like the University of Manchester, The Getúlio Vargas Foundation, INESC, and more. Currently he is working on FarmSonics, making data-driven soundscapes out of agricultural monitoring data.

Website/social links
http://www.samuelvanransbeeck.be --> you can also see more of the Smetana's Solitude work here.
https://www.instagram.com/samuelvanransbeeck/
https://soundcloud.com/thinksamuel

1) Gavin Inglis - Re:Connection (12:05)
2) Clarinda Tse – Abacus (5:55)
3) Hannah Kemp-Welch – Sanctuary (13:10)
 

1) Gavin Inglis - Re:Connection

The early months of COVID-19 wreaked havoc on the world of work. Social distancing kept us all in lockdown; employees were furloughed or fired. In time, government support manifested for various professions. One group was never considered, however: psychics who make their living by talking to the dead.
This light-hearted 'digital experiment' combines scripted spoken word, improvisation and music. It was commissioned for the Village Storytelling Festival 2022. I chose to address the commission theme, Re:Connection, on two levels. Here it refers to the act of reconnecting with a loved one beyond the veil; and it also refers to the familiar, frustrating Internet connection upon which we were forced to depend in the face of the virus.

Gavin Inglis is a writer and teacher based in Edinburgh, Scotland. He specialises in interactive narrative and games, with credits on Call of Cthulhu, Fallen London, Rivers of London RPG and Zombies, Run! He teaches at the University of Edinburgh, Super Power Agency and New Writing North. With Fin Cramb, he produced Not There, a short graphic novel to raise awareness of Functional Neurological Disorder. Gavin won the Nesta Alternarratives national competition with Reader Remix, an audio story which invites its listener to construct a live soundtrack using a simple DJ interface.
http://www.gavininglis.com
https://bsky.app/profile/gavininglis.bsky.social


2) Clarinda Tse – Abacus

This piece is a layered recording of improvisation with bronze jue 爵 --an ancient Chinese ritual vessel, golden coin turtle shell previously used for fortune telling and a wooden abacus. These objects are inherited from my grandfather who used to work in Chinese metaphysics-divinity realm (玄學). Translating these objects through sound by rubbing, movement and feedback, I am thinking about ancestral connection and time, presence of these objects, feeling through the nooks and crannies. What does the sound carry in this moment and does it predict something about the future?
The recording sessions are facilitated by Neil Quigley who is also my sound mentor.

Clarinda Tse aka Yung Kee 雍記 (she/they) is an interdisciplinary performance maker and embodied researcher, Hong Kong-
born and Glasgow-based. Their habitat explores emergent compositions of material ecologies through rituals, labour, and bodies, deconstructing capitalist time and extending imagination towards more-than-human entities. They currently think with seaweed
and microplastics.
clarindatse.com
instagram - @yungkeeshoes

 
3) Hannah Kemp-Welch – Sanctuary

On occassion of his exhibition at Kettle's Yard (University of Cambridge), artist Issam Kourbaj invited residents of North Cambridge to bring objects that made them think of 'home' to the local library. Listening carefully to their stories, I responded with field recordings both from my own collection, and from friends submitting to Radio Aporee: a field of rye in Poznan, Poland, Maciej Janasik; a ukulele concert by Coconami in Cologne, Udo Noll; a campfire burns in the countryside outside Berlin, Udo Noll; knitting with wooden needles, Lucy Warren; turning pages at the Women’s Art Library; a music box plays The Blue Danube; Sunday choir gathering, Lviv, Ukraine, Jüang Ren; Georgian musicians waiting at the gate in Boryspil Airport, Ukraine, John Grzinich; R. Lindum-Greene plays the handpan drum; playground, Amsterdam suburbs, Jillis Molenaar. The composition is installed alongside acoustic panels designed by Issam Kourbaj at Arbury Court Library in Cambridge.

Hannah Kemp-Welch is a sound artist with a social practice. She creates works collaboratively and in community settings, often responding to social issues. Recent projects include ‘The Right to Record’ (2021) - a creative campaign with disabled activists, which successfully lobbied the Government to change a harmful clause within the benefits system; ‘Meet Me on the Radio’ (2020-21) - a weekly Resonance FM programme co-produced with elders isolated during lockdown; and ‘o-o-radio!’ (2022) - a project at Wysing Arts Centre, constructing homemade radios with d/Deaf young people, to better understand how hearing aids operate.
https://www.sound-art-hannah.com/

Terms of Addition is a radio play for strings (violin and viola), voices, and electronics. It is loosely based on a Ray Bradbury short story (Tomorrow's Child). Co-composed and adapted by Bevin Kelley and Michael Kelley. Michel Kelley plays viola and voice, Elise Kuder plays violin and voice, Hollis Mickey narrates, and Bevin Kelley has a small cameo as a party-goer. We have performed this radio play live several times.

Artist bio:
Bevin Kelley is an electronic music maker, composer, and performer. She plays and records as Blevin Blechdom and is half of the duo Blectum from Blechdom, with Kristin Galvin. Michael Kelley is a composer and violist, and records electronically as Kelley Polar. Elise Kuder is a violinist of much renown and a willing vocal participant. Hollis Mickey is an artist, actress, cook, and musician, and she contributes her vocal prowess. All together we exist under the umbrella of The Traveling Bubble Ensemble.

Website/social links
https://vimeo.com/150075780 (live performance)
https://www.facebook.com/blevin.blectum

1) Yara Asmar - a funeral is a party (1:16)
2) Phew - Feedback Tuning (6:03)
3) Alëna Korolëva - Night life on the Little Lakes (8:00)
4) Jennifer Wicks - Poetry and Abstract Thought (7:38)
 
 
1) Yara Asmar - a funeral is a party 
 
 
2) Phew - Feedback Tuning
From the album New Decade.
https://phewjapan.bandcamp.com/music
 
 
3) Alëna Korolëva - Night life on the Little Lakes
This composition is made from sounds recorded over four nights in June 2023 near Little Lakes on the Territory of the Anishnabek Nation also known as Huron County in Ontario, Canada. These lakes are located in a patch of old-growth forest which is currently under the threat of erasure by a gravel company.

While the local community has worked diligently to protect the forest and its irreplaceable ecosystem, the gravel company hired “experts” to make an environmental assessment which uncovered no significant animal life and specifically noted that there were no amphibians in this area. You might believe this statement if you stop by for a moment during the day, but if you happen to be there after dark, your ears will tell you a different story.

This composition features green frogs, American bullfrogs, coyotes, redwing blackbirds, black-capped chickadees, mourning doves, roosters, red squirrels, crickets, raccoons, rabbits, beavers, and a few unidentified species.

Artist bio:
Alëna Korolëva is an artist and curator, who works with sound, photo and video.
Her sound work is focused on field recordings, acoustic ecology, soundscape studies and acousmatic composition. Her technique employs elements of documentary storytelling and experimental music.
Based in Tkaronto/Toronto, Canada.
https://alenakoroleva.bandcamp.com/
alenakoroleva.com
 
4) Jennifer Wicks - Poetry and Abstract Thought  
 
Acousmatic electroacoustic musique concrète designed for immersive installation (octophonic spatialisation). Incorporating a diverse range of sound sources, that have all been modified to create a sound montage; double bass, piano, dishwasher, birds, 16mm optical film and 16mm hand-drawn sound. 
 
Jennifer Wicks is an interdisciplinary artist whose practice spans durational installations, audiovisual performances, sound art releases, and creative-critical writing. Her work interrogates memory, language, and states of being through experimental methods, emphasising light, time, and sound. Employing obsolete media, 16mm film, reappropriated materials, and custom light-to-sound instruments, she explores the materiality of sound and image. Using Media Archaeology and contemporary technologies, she treats them both as subjects of inquiry and as tools to critique the dominance of digital culture in shaping memory, perception, and our relationship with time.
Her solo live performances explore temporal dynamics, chance, and the mechanics of sound. Working at the intersection of industrial noise, sample culture, cut-up techniques, and expanded cinema, she addresses the limitations and possibilities of analogue film and sound systems. Using modified 16mm projectors, contact microphones, and multiple guitar effects pedals, she crafts immersive, textured, and dissonant audiovisual installations.

She has training in conventional music and holds an MLitt in Fine Art Practice (Glasgow School of Art) and an MSc in Sound Design and Audio-Visual Practice (University of Glasgow). She has received a Leverhulme-funded artist residency at Glasgow University (2011-2012) and was Artist in Residence at the University of Stirling (2022), working with the Norman McLaren archive. Her recent projects span international exhibitions and festivals. She makes music with WOMEN’S HOUR (Wicks and Contort Yourself head honcho Murray CY). LP released on L.I.E.S. Records, December 2023.

https://jenniferwicks.co.uk/

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

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

https://phewjapan.bandcamp.com

This piece is a collaboration between choreographer and sound artist Netta Weiser and performer and writer Nora Amin. The piece revolves around a choreographic poem the artists co-created in a process that combined somatic practice and collaborative writing. The text unfolds a body memory of Nora: walking across the pedestrian bridge over Tahrir Square, looking up at her mother’s legs exposed by a short skirt. This childhood memory manifests conditions that have changed considerably since then: The bridge no longer exists, Tahrir Square was the site of the 2011 revolution (in which Amin took a leading part), and short skirts are no longer allowed in public spaces in Cairo. Amin and Weiser wrote and rewrote this biographical memory finding a shared voice that raises the question: Who owns the memory? In this radiophonic composition, one can hear the voice of Nora, surrounded by sounds of moving, touching and humming bodies.

Artist bio:
Netta Weiser is an artist and choreographer based in Berlin, working across performance, sound installation, and experimental radio. In 2019, she established the long-term artistic research project Radio-Choreography, which explores the poetics and politics of transforming dance into sound, the relationship between live broadcasting and muted histories, and acts of listening as modes of being together. Her work has been presented internationally, most recently at the Akademie der Künste Berlin, KW Institute for Contemporary Art Berlin, Tanzquartier Wien, Onassis Stegi Athens, WDR, Villa Medici Rome, Badischer Kunstverein Karlsruhe, and TONSPUR Micro Museum for Sound at MQ Vienna.

Website/social links
https://radio-choreography.net/

The Mill combines oral history and sound art to explore the forestry industry in British Columbia from the worker's perspective. Interviews, archives, environmental sounds and music made from machine noises help capture a more complete sonic scope of the impacts the industry has had on people, communities and the surrounding lands and waters, across generations.

Inspired by my time working in a sawmill as a boy and by the rough but caring people who I worked alongside, The Mill features current and former forestry workers (including myself) speaking about daily tasks at work, family, accidents, death, industry closures, environmental impacts and more. The timelines are blurry and the approach to narration is loose, making for a dreamy and collage-like composition. Soundscapes from workplaces, the natural environment as well as pitch shifted machine noises add ambience and counterbalance the voices and content being shared.


Artist bio:
Russell Gendron is an artist who investigates place and the relationships (human or otherwise) that make up the materiality of everyday life. Through sound, textiles and multidisciplinary research he attempts to capture and transpose these connections in order to imagine new perspectives. and create engaging ways of understanding our world and ourselves.

The people and places he encounters have been a source of curiosity and inspiration and his work seeks to reproduce this subtle and serene material. Being and working with others is his true passion and collaboration has been central to many of his projects.


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

Mairhofer, Norer and Six have been working together as the artist group FAXEN since 2004. In almost 20 years they have created a diverse body of work characterised by a focus on sound and collective working methods. This publication presents this oeuvre in a hybrid form of sound, graphics and text in order to offer a comprehensive insight and to open up additional references. One challenge is to make the sound works accessible in print, which is why three 10' vinyl discs are included, each containing 6 sound compositions of around 10 minutes in length. Marlies Stöger and André Tschinder were asked to visually comment on the works by designing a fictitious record cover for each piece.

For Radiophrenia 2025 we'll present the first of the 3 records as an excerpt and preview.

Artist bio:
Since 2004, Clemens Mairhofer, Lucas Norer and Sebastian Six work together in the artist collective FAXEN.

Acoustic experiments in connection with items of everyday life, sculptural assemblages and the physical element of sound are the main aspects of the group’s musical and visual compositions. The works of the artist group FAXEN deal with moments where noise becomes music and the difference between hearing and active listening is explored.

Alongside their artistic work FAXEN are running the artist-run gallery bb15 in Linz/Austria.


Website/social links
https://faxen-collective.net

More than forty short excerpts form the basis of "noch kurz" - a random mix. These mostly one-minute sound snippets come almost exclusively from Ö1 Kunstradio productions of the last twenty years.   Ö1 Kunstradio was founded in December 1987 by art critic and journalist Heidi Grundmann as a venue for radio art. The program soon expanded far beyond the ORF broadcasting channels into art spaces and museums as well as other media and public spaces.   Innovative projects were developed in collaboration with artists and artists' groups from all over the world, as well as with art associations, festivals and museums, which dealt intensively with the latest technologies and possibilities of the time, such as the World Wide Web, as the Internet was called in the early 1990s. New approaches and spaces for art and radio were sometimes experimented with for the first time in Ö1 Kunstradio and thus in national public broadcasting.    Kunstradio Online was founded in 1995 by the visual artist and telecommunications art pioneer Robert Adrian X together with the artist group x-space (Horst Hörtner, Martin Schitter, Jutta Schmiederer and Gerfried Stocker).   Kunstradio Online has served as a venue for innovative radio art projects such as Horizontal Radio or Art's Birthday, and also functions as one of the most comprehensive online archives for international radio art. And it is or was also a programme announcement. Short excerpts - usually one minute long - were offered in the programme calendar for each Kunstradio programme for announcements and a quick listen to a radio art work.   For "Noch kurz - ein Zufallsmix", more than 40 excerpts were put together in a purely random order. An astonishing variety of speech, voices, sounds, natural noises and musical sounds from live and pre-produced Kunstradio pieces come together to form a new whole.

1) Neil Luck - Real Telepathy (10:25)
2) Clemens von Reusner – REEHD (7:11)
3) Kate Wilson Hilferty - Two Channel // Rannoch Moor Pt 1 (5:01)
4) Ellie Cherry - Breaking News (12:00)
 
 
1) Neil Luck - Real Telepathy

Real Telepathy is a radiophonic work about the nature of broadcast and shortwave communication. This collective state might exists when many dispersed bodies listen simultaneously to the same broadcast. It also happens in the shortwave radio community; individuals across the world communicating with each other somewhat chaotically via publicly accessible long-distance antennas. These connections, messages, signals all represent for me some kind of ephemeral community of communications; a telepathic network. My interest in radio as a collective listening experience heightened during the lockdowns of 2020, and spurred me to conduce a series of experiments, performances, compositions and recordings based around the interception, or modulation of radio signals. Real Telepathy is a piecing together of those into a short dreamlike narrative around late night radiophonic communications between men in their sheds.

NEIL LUCK is a composer and artist based in the UK. His work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself. Neil’s work takes a range of forms from music-theatre, to concert works, radio, public projects and recordings. He is the founder and director of the music-theatre ensemble ARCO; an experimental music-theatre company. ARCO has been commissioned to produce work for arts institutions, galleries and music institutions around the UK and overseas.
https://www.neilluck.com/
https://x.com/Neilluck
https://www.instagram.com/arcoarcoarcoarco/

 
2) Clemens von Reusner – REEHD

REEHD is not based on sounds of real instruments, but on sounds generated by physical modeling. Physical modeling allows to go beyond the limits imposed by real instruments as well as the limits imposed by human players. This can result in certain sounds no longer having any relation to known instrumental sounds. In REEHD sound objects interact as sound gestures as well as textures in a concept of composed spatial counterpoints in virtual spaces.

"But no one should be afraid that looking at signs leads us away from things; on the contrary, it leads us into the innermost of things." (Gottfried Wilhelm Leibniz, 1646-1716)

REEHD is awarded (honorary mention) at international composition competition MUSICA NOVA 2023, Prague, czech republic.
Spatialisation: ambisonic, 8-channel, 07:11

Clemens von Reusner, german composer (* 1957). His works of electroacoustic music and radiophonic audio pieces focus on both purely electronically generated sounds and sounds found in special places and processed in the studio. The work on sound itself, its arrangement and movement on individual tracks in the virtual acoustic spaces of multi-channel loudspeaker configurations are at the centre of his compositional work. He is member of the "Academy of German Music Authors". His works have been awarded with national and international prizes, most recently the Thomas-Seelig-Fixed-Media-Award 2024. They are performed worldwide at reknowned international festivals for contemporary music.
https://www.cvr-net.de/
https://www.youtube.com/channel/UCZN7nx06m3qt7W5chIdKp7Q

 
3) Kate Wilson Hilferty - Two Channel // Rannoch Moor Pt 1

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

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

 
4) Ellie Cherry - Breaking News

"Breaking News" is inspired by the historic feud between newspaper companies and their rival radio news broadcasting organizations at the beginning of the 20th century. Known as The Press-Radio War, the feud reached a head in 1938, when representatives of the printed press attempted to illegalise radio news broadcasts. Not having real legal grounds to ban radio news, the press exaggerated the panic caused by Mercury Theatre's 1938 broadcast of "War of the Worlds" to build the case that radio was dangerous for public safety. In "Breaking News," I satirically reimagine the printed press's melodramatic depiction of radio by stringing together a surrealist narrative from archival radio news bulletins and vintage office supplies played as percussion instruments. The result is a warped reality in which the radio not only has the power to influence emotions, but can also mind control humans, puppeteer their bodies, and distort the laws of time.

Ellie Cherry is an electroacoustic composer fundamentally compelled by the belief that as an artist she is first and foremost an observer: be it the acoustic properties of a beech tree or the childhood experiences of an audience member, every element in our shared reality is worthy of consideration. Her composition therefore takes a holistic approach, in which spectral theory, physics, psychoacoustics, and historical and political context are all intertwined.
https://www.elliecherrycomposer.com
https://soundcloud.com/elliecherrycomposer

5) Julian Scordato - Study for a cosmic city (7:00)
6) Lori Mortimer - The Pain (1:40)
7) Jena Jang - Annoying Cantabilles (14:02)

 
5) Julian Scordato - Study for a cosmic city

"Study for a cosmic city" is inspired by a utopian urban planning proposal described by the composer and architect Iannis Xenakis in an essay entitled "La ville cosmique" (1965). The work is based on a graphic score that sends normalized parameter values to a laptop ensemble. Performers are free to map the score data to the variables of their favorite devices and algorithms. The aim is to preserve an autonomous design of digital musical instruments within a common environment based on data sharing. Performative gestures are left to the sensitivity of each musician.

Performed by Arazzi Laptop Ensemble (Giorgio Klauer, Luca Richelli, Julian Scordato, Giovanni Sparano, Paolo Zavagna) in October  2022.

Julian Scordato is a composer and artist whose practice focuses mainly on sound, graphics, algorithms, and interactivity. He studied composition and electronic music at the Conservatory of Venice and sound art at the University of Barcelona. In 2009 he co-founded the Arazzi Laptop Ensemble. In 2015 he joined and currently leads SaMPL - Sound and Music Processing Lab, an innovative platform based in Padua (Italy) dedicated to education, production and research in Sound and Music Computing. Coordinator of the Electronic Music School of the Conservatory of Padua, since 2017 he has been professor of electroacoustic music composition and performance.
https://www.julianscordato.com

 
6) Lori Mortimer - The Pain

In my deceased mother's garage, I found a cassette tape from the 1970s. It's a recording of the surprise party my extended family threw for my great-aunt and -uncle. Among the gems on the tape is the sound of my great-aunt Lorraine, who taped over the last 10 minutes of the party, reciting a series of meditations to help relieve her chronic back pain. The juxtaposition of the party's raucous joy with my aunt's solitary voice at the end, desperate for pain relief, took me aback. I condensed one of her meditations for Audio Playground assignment 19: "Create a 90-sec max piece that includes at least 10 seconds of [the supplied song], and also the sound of a wave. Guest prompt from Marcus Bagala." (http://www.audioplayground.xyz/assignments). I used the supplied music plus my own recording of the ocean.

Lori Mortimer is the creator of Mementos podcast, a member of Hub & Spoke (a nonprofit collective of independent podcasters), and the creator of Sound Off the Ground, a sound-design newsletter for new audio makers. A mid-life career-changer, Lori loves to sponge up as much as she can about creating audio. Most recently, she's been exploring sound art and acoustic ecology. She also enjoys sharing knowledge with other new(ish) audio makers through workshops such as "Music for Non-Musicians: Create Music on Your iOS Device," which was offered through AIR Media (professional org in the US).
http://www.lorimortimer.com
LinkedIn: https://www.linkedin.com/in/lorimortimer
SoundCloud: https://soundcloud.com/user-302416140
IG and Twitter: @mortaymortay


7) Jena Jang - Annoying Cantabilles

"Annoying Cantabilles" reflects my rebellious approach to cantabile. My musical journey began at age three with classical piano, which deeply influenced me. I often played chords differently from the score, preferring to alter pieces slightly, and my teacher even suggested studying jazz or composition. Eventually, I stopped playing piano during secondary school, focusing on visual arts. However, I later explored samulnori percussion, classical guitar, and eventually experimental music through modern dance and studies in Europe. During the pandemic, I started composing with Ableton and, whenever possible, returned to the piano, recording my improvisations. Discovering synthesisers revealed my musical world rooted in piano, but I still dislike rigidly following scores. I love classical music but take a rebellious stance, always distorting and challenging its boundaries.

Jena Jang is a vocalist, experimental musician, and performance artist from South Korea, currently based in Prague, Czechia. Their work explores the boundaries of power electronics, extended vocal improvisation, and high-pitched frequencies generated through their hand-built modular synthesisers. Drawing inspiration from Buddhist chanting, yogic breath work, throat singing, and traditional Korean music forms like Pansori, Samulnori, and Shamanic rituals, their performances are raw, visceral expressions of energy. Physicality plays a central role, with movements such as head-banging, crawling, and repetitive gestures aimed at transforming past traumas and negative memories into positive, cathartic experiences.
https://database.shareimpro.eu/en/person/jena-jang
https://www.instagram.com/xena_xang/
https://www.youtube.com/@jenajang/featured
https://soundcloud.com/purplearsound
https://linktr.ee/jenajang

In this project Paul and Masimba  capture almost five years of fascinating conversations as they stood upon different soils in different geographies and time zones. Their work considers the complex entanglements of migrant stories, memory, identity, otherness, sonic and musical materiality in each of their practice.

   The basis of this piece is a modified record, which has been covered with calico, dyed with mud collected from a contentious location in Harare where the New Zimbabwe flag was hoisted in 1980. Alongside this 'earth dipped record' we hear field recordings of family prayers, onomatopoeic vocalisations, and experimental turntable practices using mediated records. The work remembers stories of myth, music, mantras and math, all rooted in our collective interest in factive, mnesonic practices of resistance and sonic action(s) may you - repeat 108 times. Masimba re-members how in Chidzimbahwe folklore, the soil hums ultra sound songs to the offspring of mice below the surface, subtle vibrational songs that humans cannot hear, songs of healing and comfort. This is part of a terra-ancestral ontology, nomadically sounding material memories, through leaf soil and root.  Artist bio: Paul is an audio maker from Blackburn in Lancashire. His work explores diaspora, identity, musical materiality, memory, how our relationship with listening and the listened to, changes over time. His work is currently being shown as part of the major national touring show Jerwood Survey III. Masimba Hwati is a multi-disciplinary artist focusing on everyday forms of resistance/negotiation and micro-politics of sound and listening. He is a PhD in Art Practice candidate at the Academy of fine Art Vienna. He holds an MFA from University of Michigan, Ann Arbor. He works in sculpture sound  performance and other media. Website/social links https://www.paulnataraj.uk/ https://paulnataraj.bandcamp.com/ https://www.secondactgallery.co.uk/masimba-hwati https://www.youtube.com/@masimbahwati7490 https://www.instagram.com/masimbahwati/?hl=en-gb

1) David Watt - A Scottish Minstrel's Song of the Waves (15:00)
2) Mendel Lee - Fast-Paced World (9:45)
3) Michele Abondano - The Inner of Matter (20:00)
4) Craig Gell – Arcade (15:00)

 
1) David Watt - A Scottish Minstrel's Song of the Waves

Soprano: Lisa Lulis (credit)

As a songwriter, Carolina Oliphant hid her identity in pseudonyms of Scottish Minstrel, SM, Mrs Bogan of Bogan, BB, for fear of not being taken seriously as a female songwriter ​(Donaldson, 2023)​. The exact extent of her work is not known. With Robert Burns, Baroness Nairne (as Carolina Oliphant became) was one of the foremost Scottish songwriters helping to transform the politics of resistance in the Jacobite rebellion to a national identity. A Scottish Minstrel's Songs of the Waves recasts Nairne’s work and collages three songs: Caller Herrin’, Charles’ Landing at Barodale; The Boat Song O’ Clyde) ) Each work explores the relationship of estuaries and water courses to the Scottish Landscape. In this work Nairne is reworked into the present day using sonic material processed from the vocal performances with found sounds of objects located close to the water courses.

David Watt is lecturer in music and sector Manager for music industries and theatre arts at UHI Perth, having previously completed doctoral study with Rajmil Fischman and Diego Garro at Keele University. Previous works have been performed at INTIME, Ai-maako, Portbello Film Festival, and explore connections made in structure and narrative through sound transformation.
https://linktr.ee/davidwatt
https://davidwatt.bandcamp.com/album/voices-landscapes

 
2) Mendel Lee - Fast-Paced World

Years ago I found myself wondering what it would sound and feel like to be standing or walking in the middle of a road with fast and loud vehicles speeding by me on all sides. I imagined closing my eyes, feeling the slipstream air whip my hair around as vehicles of all shapes and sizes passed by me. Because this would be hazardous to experience in real life, I set my sights on creating a digital audio work that could represent this phenomenon. Fast-Paced World is the result, an atmospheric work aimed at transporting the listener into what would be a dangerous sonic environment made safe and meditative by transforming the sounds into a peaceful virtual soundscape.

Mendel Lee (he/him) (b. 1975) is a New Orleans-based composer whose music explores both the evolution of singular ideas over a long period of time and layered syncopated rhythmic patterns and hemiolas over an underlying groove. Recognized as a VCCA Fellow and a NPN Take Notice Fund Grantee, he is committed to using his creative practice and entrepreneurial spirit to strengthen collaboration between composers, performers, and audience to show that new music can be for everyone.
https://mendellee.com/
https://instagram.com/mendelleemusic
https://youtube.com/@mendellee

 
3) Michele Abondano - The Inner of Matter

‘The Inner of Matter’ is the first electroacoustic composition of a series of timbrescapes that responds to the hybrid possibilities between the creation of a timbral experience and the interaction with a particular soundscape. Here, the soundscape was recorded and electronically processed. Objects of diverse materials were collected to create a set for improvisation sessions, which were recorded and processed as well, thus the compositional process focused on the timbral creation of a hybrid experience between the acoustic and the electronic entities. The inner in this work is approached as a scrutiny of the inside of each source. The search for the internal content and structure of matter in each object. Scraping, cutting, digging or extracting, I attempted to capture their uniqueness, expanding or even disrupting their nature.

Composer, experimental performer and researcher. Her work has been developed in the areas of instrumental and electroacoustic music, live electronics and collaborations with dance. Her main interest is to explore timbre, especially, its multidimensional and dynamic condition. She has been a fellow of the Stiftung Künstlerdorf Schöppingen, an artist-in-residence at CMMAS, as well as a winner of the Ibermúsicas Prize of Composition and Premiere of Work, and the Grant for the Creation of Contemporary Music funded by the Colombian Ministry of Culture. Abondano was awarded a PhD in Composition at the University of Leeds.
https://micheleabondano.com/

 
4) Craig Gell – Arcade

‘Arcade’ is a montage of recordings made at Dymchurch amusement park in Kent. The piece was originally created to augment an installation by the artist genuinefake at the Folkestone Triennial in 2021, but was never used.

Craig Gell is an artist and composer from Bournemouth.
He has created multimedia installations, interactive apps and electroacoustic compositions largely informed by nature and the natural landscape - recording impulse responses in quarries (Lithoscapes), programming sonifications of live sea wave data (Wave Machine). Craig is also an experienced musician and composer of more conventional music, including for a number of short animated films.
craiggellmusic.com
Soundcloud.com/craiggell

1) David Watt - A Scottish Minstrel's Song of the Waves (15:00)
2) Mendel Lee - Fast-Paced World (9:45)
3) Michele Abondano - The Inner of Matter (20:00)
4) Craig Gell – Arcade (15:00)

 
1) David Watt - A Scottish Minstrel's Song of the Waves

Soprano: Lisa Lulis (credit)

As a songwriter, Carolina Oliphant hid her identity in pseudonyms of Scottish Minstrel, SM, Mrs Bogan of Bogan, BB, for fear of not being taken seriously as a female songwriter ​(Donaldson, 2023)​. The exact extent of her work is not known. With Robert Burns, Baroness Nairne (as Carolina Oliphant became) was one of the foremost Scottish songwriters helping to transform the politics of resistance in the Jacobite rebellion to a national identity. A Scottish Minstrel's Songs of the Waves recasts Nairne’s work and collages three songs: Caller Herrin’, Charles’ Landing at Barodale; The Boat Song O’ Clyde) ) Each work explores the relationship of estuaries and water courses to the Scottish Landscape. In this work Nairne is reworked into the present day using sonic material processed from the vocal performances with found sounds of objects located close to the water courses.

David Watt is lecturer in music and sector Manager for music industries and theatre arts at UHI Perth, having previously completed doctoral study with Rajmil Fischman and Diego Garro at Keele University. Previous works have been performed at INTIME, Ai-maako, Portbello Film Festival, and explore connections made in structure and narrative through sound transformation.
https://linktr.ee/davidwatt
https://davidwatt.bandcamp.com/album/voices-landscapes

 
2) Mendel Lee - Fast-Paced World

Years ago I found myself wondering what it would sound and feel like to be standing or walking in the middle of a road with fast and loud vehicles speeding by me on all sides. I imagined closing my eyes, feeling the slipstream air whip my hair around as vehicles of all shapes and sizes passed by me. Because this would be hazardous to experience in real life, I set my sights on creating a digital audio work that could represent this phenomenon. Fast-Paced World is the result, an atmospheric work aimed at transporting the listener into what would be a dangerous sonic environment made safe and meditative by transforming the sounds into a peaceful virtual soundscape.

Mendel Lee (he/him) (b. 1975) is a New Orleans-based composer whose music explores both the evolution of singular ideas over a long period of time and layered syncopated rhythmic patterns and hemiolas over an underlying groove. Recognized as a VCCA Fellow and a NPN Take Notice Fund Grantee, he is committed to using his creative practice and entrepreneurial spirit to strengthen collaboration between composers, performers, and audience to show that new music can be for everyone.
https://mendellee.com/
https://instagram.com/mendelleemusic
https://youtube.com/@mendellee

 
3) Michele Abondano - The Inner of Matter

‘The Inner of Matter’ is the first electroacoustic composition of a series of timbrescapes that responds to the hybrid possibilities between the creation of a timbral experience and the interaction with a particular soundscape. Here, the soundscape was recorded and electronically processed. Objects of diverse materials were collected to create a set for improvisation sessions, which were recorded and processed as well, thus the compositional process focused on the timbral creation of a hybrid experience between the acoustic and the electronic entities. The inner in this work is approached as a scrutiny of the inside of each source. The search for the internal content and structure of matter in each object. Scraping, cutting, digging or extracting, I attempted to capture their uniqueness, expanding or even disrupting their nature.

Composer, experimental performer and researcher. Her work has been developed in the areas of instrumental and electroacoustic music, live electronics and collaborations with dance. Her main interest is to explore timbre, especially, its multidimensional and dynamic condition. She has been a fellow of the Stiftung Künstlerdorf Schöppingen, an artist-in-residence at CMMAS, as well as a winner of the Ibermúsicas Prize of Composition and Premiere of Work, and the Grant for the Creation of Contemporary Music funded by the Colombian Ministry of Culture. Abondano was awarded a PhD in Composition at the University of Leeds.
https://micheleabondano.com/

 
4) Craig Gell – Arcade

‘Arcade’ is a montage of recordings made at Dymchurch amusement park in Kent. The piece was originally created to augment an installation by the artist genuinefake at the Folkestone Triennial in 2021, but was never used.

Craig Gell is an artist and composer from Bournemouth.
He has created multimedia installations, interactive apps and electroacoustic compositions largely informed by nature and the natural landscape - recording impulse responses in quarries (Lithoscapes), programming sonifications of live sea wave data (Wave Machine). Craig is also an experienced musician and composer of more conventional music, including for a number of short animated films.
craiggellmusic.com
Soundcloud.com/craiggell