Mon 04

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/

'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.

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

The soundtrack is made for the silent film The Fall of the House of Usher.
The movie was co-directed by James Sibley Watson and Melville Webber, and starred Herbert Stern, Hildegarde Lasell Watson and Melville Webber.It tells the story of a brother and sister who live under a family curse. An avant-garde experimental film running only 13 minutes,the visual element predominates, including shots through prisms to create optical distortion.One sequence features letters written in the air moving across the screen.
Selenium Dust Particle superimposed an imaginaired atom of a selenium particle in the movie.

This is the soundtrack extended version.


Artist bio:
Selenium Dust Particle investigates the mechanical sounds of instruments,
old grammophone records, wax cylinders, distortion in tape recorders, cassette players and short wave radio and brings them together into a whole new sounduniverse.

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

seleniumdustparticle@gmail.com

Sonic landscapes; in disappearing echoes; shown on a wall; in a slow bounce; Engraving sounds texture; a Granulating pulses; in Gravity Waves; the Fruit that grows; inside a tree

Artist bio:
A international Group project with a ever changing line up which started in the mid eighties; Since there have been many times of inactivity, and lots of recordings have been lost down the years. Various members joined and left, lots of tapes of unlistenable noise were made, sold or given away, only to be played once, and mostly for only a few seconds. There's a story that a party in the late eighties was ruined by a Mutant Beatniks album being accidentally selected from a pile of cassettes. From the years of not self editing, a open space arrived, and in this clearing was a sound set with out ego


Website/social links
http://mixseriescollection.bandcamp.com

An exploration of aesthetic beauty treatments and the relationship we have with our bodies and appearance.

The piece looks at the fragility of the human condition both physical and mental and what forms our interpretation of beauty. The role of social media and the exploitation of people in areas of low income and low self esteem. Considering the ageing process and the passing of time which writes itself all over our bodies and taking a sympathetic view of the minute details of our appearance that we obsess over.

The piece is composed using fragments of music from Brahms, Holst, Bruckner, Korsakov, Smetana and Chopin, each fragment chosen using a random number generator to enable the piece to be ultimately programmed so each iteration can be unique, reflecting the individualistic theme of the work.


Artist bio:
Orchestral music created using cut-ups from public domain classical pieces, covering subjects from left behind former mining communities.

Wilkinson’s music was part of Michael Begg’s award winning “Be Mine in Patience”.
His pieces have been played on NTS, Resonance FM, BBC and released on TUSK, Industrial Coast, Wormhole World and others.

This year he has performed his pieces alongside Flora Yin Wong, Aja (Ireland), Abigail Toll and Matekoi around the country.

A number of his audio visual pieces have been displayed in art galleries with two solo gallery exhibitions for the piece BOTOX/COLLAGEN/SILICONE.

Website/social links
https://www.instagram.com/garywilkinsonmusic/
https://www.garywilkinson.net
 
 
Followed by the short work:
 
Marc Perez - the mouth cries, the eyes kill (3mins)

This work is meant to highlight and illustrate a struggle in sonic communication between two entities. One is searching for love, guidance, and something warm that will validate their existence. The other seemingly responds in lack of care, not only in a micro sense but a macro sense, showing the other entity they mean nothing.

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

ASSEMBLING LAND PODCAST SERIES Episode 01: Imagining Land (On Palestine) Weaving together found footage, Palestinian folk songs, musings on resistance and solidarity, we rehearse a sonic protest in search for alternative ways of sharing knowledge. A series of podcasts are taking shape through our confluence in sessions of Assembling Land: Rehearsals Towards Place-making articulated in the various locations where we meet. The podcasts are formed in chapters corresponding to our peer-to-peer learning around Land, Housing and Out/Institution, each time seeking ways to question ourselves and by way of listening to the varied and polyrhythmic offerings from the people and places we encounter. In this process of place-making, we explore our practices and transmit through the broadcasting platform and extended community of Radio Alhara. Assembling Land: Rehearsals Towards Place-making is de Appel’s COOP study group at DAI Roaming Academy unfolding throughout 2024. Through the group’s monthly encounters, five podcasts will share the harvest of each iteration with attuned overarching themes as departure points. This first episode was initiated in January 2024 at Nida Art Colony in Lithuania, during Confluence 1: Imagining Land & Water. Dutch Art Institute (DAI) is a nomadic accredited MA program landing in various locations and for seven times (confluences) per academic year with the student body and crew. The study groups, which last the full academic year, are one of the pillars of its program and are carefully composed of and conducted by collaborations with an art institution, in this case de Appel in Amsterdam. AR: تخيّل الأرض الحلقة الاولى (عن فلسطين) معاً قمنا بنسج بعض اللقطات الجاهزة، وأغاني الفلكلور الفلسطيني، وتأملات حول المقاومة والتضامن، كمحاولة القيام باحتجاج صوتي ، باحثين من خلالها عن طُرُقٍ بديلة لمشاركة المعرفة. تقوم مجموعة "تجميع الأرض: تجارب نحو تشكيل المكان" بإنتاج مدونات صوتية في الأماكن الجغرافية المختلفة كحصاد لهذه اللقاءات.   تتشكل المدونات من  عدة فصول مماثلة للجلسات التي نقوم فيها بتبادل المعرفة حول مفاهيم الأرض، والإسكان، و المؤسسة (داخلها، عبرها وخارجها).  في كل مرة نبحث عن طرق لمساءلة أنفسنا عن طريق السماع الى العروض المتنوعة والمتعددة الإيقاعات من الأشخاص الذين نقوم باستضافتهم والأماكن التي تستضيفنا. في هذه الصيرورة التي تهدف الى فهم تشكيل المكان،  نستكشف ممارساتنا ونقوم بنقلها على شكل مدونات صوتية إلى المجتمع الموسع لراديو الحارة.   "تجميع الأرض: تجارب نحو تشكيل المكان" هي مجموعة دراسية تعاونية في De Appel بالشراكة مع  معهد الفنون الهولندي DAI،  والتي تستمر على مدار العام الدراسي 2024. من خلال لقاءات المجموعة الشهرية، سنقوم بمشاركة خمسة مدونات صوتية كحصاد لجميع تلك اللقاءات، والتي تأخذ الثيمات العامة التي تُعنى بها التعاونية كنقطة انطلاق لها.    تم البدء بهذه الحلقة في يناير 2024 في مستعمرة الفنون في نيدا Nida Art Colony في ليتوانيا اللقاء الأول: تخيّل الأرض والماء معهد الفنون الهولندي هو برنامج ماجستير تجوالي حيث يهبط في مكان مختلف في كل شهر مع فريق الطلاب والموظفين سبع مرات في السنة. تُعتبر المجموعات الدراسية التي تستمر على مدار العام الدراسي أحد أعمدة البرنامج، بتم تكوينها وتنسيقها بعناية من خلال التعاون مع مؤسسات فنية مختلفة، وفي هذه الحالة مع De Appel في امستردام When does the land become a territory? Chapter 1, Land w/ Sara Alberani, Qiaoling Cai, Saverio Cantoni, Echo Guo, Kıvanç Sert متى تصبح الأرض مُلكاً؟ الفصل الأول، الأرض مع سارة البراني، كياولينج تساي، سافيريو كانتوني، إيكو جو، كيفانش سيرت Acknowledgements: شكرا وتقدير Collective Reading of Love On The Palestinian Way (1999), PAF, March 2024; Sabreen - Love On The Palestinian Way (1999); Fuck Your Lecture On Craft, My People Are Dying by Noor Hindi (2020); Catastrophic Sonnet - Issam Zineh; Checkpoint 303 - Gaza Sea Minor (Gaza Mixtape EP); Collective clapping intermission, PAF, January 2024; We Planted the Sage - زرعنا المرمية performed by Alzinnar; Music from Foragers (2022) by Jumana Manna; Forensic Architecture: Notes from Fields and Forums - The Pyramids of Gaza; Palestine Solidarity Demonstration in Berlin, February 2024. How does the landscape tell the history or stories of the land? Chapter 2, Housing w/ Part 1- Eszter Dobos, Sille Kima; Sound design & mix: Sille Kima Part 2- Federica Nicastro, Francesca Pionati; Sound design & mix: Alberto Boni, Francesca Pionati Part 3- Shaza Omran, Meii Soh; Sound design & mix: Sille Kima; Voice: Randa Awad كيف تروي المناظر الطبيعية تاريخ الأرض أو قصصها؟ الفصل الثاني، الإسكان الجزء الأول:  إيستر دوبوس، سيل كيما؛ تصميم الصوت والمزج: سيل كيما الجزء الثاني: فيديريكا نيكاسترو، فرانشيسكا بيوناتي؛ تصميم الصوت والمزج: ألبيرتو بوني، فرانشيسكا بيوناتي الجزء الثالث:  شذى عمران، مي سوه؛ تصميم الصوت والمزج: سيل كيما؛ الصوت: رندا عوض Acknowledgements: شكرا وتقدير Eye on Palestine; Resistance News Network’ Al Jazeera; Middle East Monitor; Gaza by Kyles Soundpack - 2016 Gaza City on freesound.org; Mohannad Abu Rizk (@mohannad.aburizk); YouTube: Rim Banna - ‘On Top of The Mountain’; poet Abu Najji singing improvised poetry on the occupied land of Palestine; improvised melange of traditional palestinian and spanish songs ‘Ya Talein El-jabal’ & ‘Panadera’ by Terez Sliman & Sophia Adriana on a boat in Cairo. What does an institution of resistance sound like? Chapter 3, Out/Institution: Foad Alijani, Chloë Janssens, Tuba Kılıç, Anastasia Nefedova, Thamyres VM كيف يبدو صوت مؤسسة المقاومة؟ الفصل الثالث: المؤسسة (داخلها، من خلالها وخارجها):  فؤاد عليجاني، كلوي جانسنس، توبا كيليج، أناستاسيا نيفيدوفا، ثاميريس  Acknowledgements: شكرا وتقدير Refaat Alareer (via @bintdisco); Palestine Solidarity Demonstration in Rotterdam (via @himhili); @sheih.jpg singing with Hajje Safiye; @rabetbypipd Im Mohammed baking taboun bread; @motaz_azaiza “Never forget to say Free Palestine ✌️”.

"Water Line" is a generative audio piece by Absolute Value of Noise and Anna Friz that imagines the space between the tides and between salt and fresh water - depending on the height of the tides, the listener is above or below the water surface. The lapping of mussels, the crawling and loud hissing of crabs, the pawing of sand fleas, the slow movements of shellfish. Real environmental sounds are mixed with compositional interpretations of bodies of water and their environment, from kelp forests and flood zones to mud flats and marshy areas, from flood plains to rocky coves.

The piece was originally commissioned by Deutschlandfunk Kultur and Ö1 Kunstradio for the annual project KONTINUUM. It ran from April 2023 to June 2024 as an ongoing 1 year+ generative radio work.

Artist bio:
Anna Friz and Absolute Value of Noise (Peter Courtemanche) are Canadian sound and radio artists. Anna Friz creates self-reflexive radio for broadcast, installation and performance. Her compositions reflect upon public media culture, environment and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and speculative fiction. Absolute Value of Noise creates radio and outdoor installations. He likes to work with "gadgetry" - custom turntables, wire coils, high voltage ionizers, magnetic transceivers, bio-electric circuits, and "little electronic brains" that observe and respond to local phenomena. His outdoor works are a comment on bio-diversity, extinction, and fragility.

Website/social links
http://absolutevalueofnoise.ca/
http://nicelittlestatic.com/

"No Roof Only Sky" was the tenth and final of my films for Repeater Radio's "Their Tells" series. It told an intertwined narratives of two voices lamenting love and loss, and the ultimate impossibility of love, over a textured electronic background. Here it is presented without visuals as a radio play/poetry of sorts.

Artist bio:
Ruaridh Law is an artist and musician based in North Ayrshire, Scotland. He makes films, composes music, installs things in- and out-side and writes & publishes words, often via his No Roof Only Sky imprint.

Website/social links
http://ruaridhTVO.com
@ruaridhlaw (IG)
@ruaridhTVO (Twitter/X)
http://noroofonlysky.com

After the Crisis investigates the possibility (or rather, impossibility) of crisis aversion by re-presenting the thought of US military historian Roberta Wohlstetter, who with her husband Albert Wohlstetter, significantly impacted the military and nuclear strategy of post-war United States. It presents a spoken performance of Roberta Wohlstetter's publication, Cuba and Pearl Harbor: Hindsight and Foresight, which uses information theory to analyse the successes and inevitable failures of the United States' ability to predict and a prevent national catastrophe during these two events. By omitting the specific details from these events that were originally written into the text, the performance lays bare a narrative that both addresses and produces the crises shaping international conflict today. Centering the US military machine, the resulting work exposes the limits of a seemingly unyielding power, the perils of hindsight, and questions the ends of endless information collection in a world with multiple, uncertain futures.

Artist bio:
Jacob Weinberg (b. 1991, Harrisburg, PA) makes work that highlights slippages between the technical and social dimensions of inherited institutions. Working across media, including video, sound, and installation, he operates within the details of mechanisms that both haunt and shape contemporary conditions of rationality, uncertainty, and subjectivity.

Website/social links
http://www.jacobweinberg.net
@wacob_jeinberg

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

Studio Cybi’s, Ar Ben Ein Hunain Gyda’n Gilydd, is an hour long audio poem, blending synth, archival sounds (from The Slatemakers a 1980 Horizon documentary and assorted YouTube recordings taken from old raves) and spoken word into a manifesto-prayer fusion.

Located on an island off the northern tip of Wales, Studio Cybi seek to redefine art’s purpose, steering away from the conventional contemporary art world. They aspire to transform art into a ritual, activating both matter and landscape, while questioning the corporate and sterile aspects of the mainstream art scene. The project aims to connect individuals, fostering a deeper engagement with art beyond the boundaries of the conventional art world.

Artist bio:
STUDIO CYBI (SC) is a curatorial duo from Holyhead, North Wales, comprising artists Iwan Lewis and Rebecca Gould. Their practice is rooted in shared experiences of living in communities facing challenges under a hostile political climate. SC's practice is a symbiosis of art and curatorial work, consistently driven by a focus on political and social realities, particularly those affecting communities in Wales. Since 2016, SC has been curating site-specific exhibitions and projects, engaging with unconventional spaces such as local holy wells and their own dining room, while addressing issues of place, community, and politics.

Website/social links
http://www.studiocybi.com
http://www.instagram.com/studiocybi

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

Major Arcana of Fungi is an action inspired by radical mycology. Audio here is an excerpt from 22-hours long radio show. The participating artists were asked to interpret a Tarot card they drew from the pack in a sound form. This could be related to the fungal body and their personal impression of the given symbol. They could refer to the EDAPHONE: the sound of life underneath forest litter as it grows fluidifies and decomposes into smaller parts through hyphae's microchannels or they could offer initiation into personal secrets and intuition. ‘‘I am here as a product of the connection and collaboration of many others’’ refering to the underground imaginary, to the mycelium as a network of neural connections that create ever-changing, learning membranes - each card can also be interpreted as an emanation of this great field of interrelations. Major Arcana of Fungi is an action inspired by radical mycology. Audio here is an excerpt from 22-hours long radio show. The participating artists were asked to interpret a Tarot card they drew from the pack in a sound form. This could be related to the fungal body and their personal impression of the given symbol. They could refer to the EDAPHONE: the sound of life underneath forest litter as it grows fluidifies and decomposes into smaller parts through hyphae's microchannels or they could offer initiation into personal secrets and intuition. ‘‘I am here as a product of the connection and collaboration of many others’’ refering to the underground imaginary, to the mycelium as a network of neural connections that create ever-changing, learning membranes - each card can also be interpreted as an emanation of this great field of interrelations. This piece is a mix of compositions and fragments sent by collaborating artists in this order: ASTMA, Zosia Hołubowska, Martyna Poznańska, Ania Kamecka, Mario de Vega, Anna Jurkiewicz, Gosia Wrzosek, FOQL, Milena Soporowska Artist bio: Sound artist, practicing deep listening as a starting point for sound activism. Interested in voice as a bridge between the public and private sphere; listening, singing, and improvisation as a practice of social resistance. Using extended voice techniques, radio waves, field recording and electronics - she creates an audiosphere for her personal and collaborative performance works. She co-creates the Warsaw-based community Radio Kapitał and is the author of poetic radio plays and interventions. From 2020 to 2021 she was a resident of the experimental studio WORM in Rotterdam; permanent collaborator of the interdisciplinary platform Q-O2 based in Brussels and Goethe-Institute. Website/social links https://secondaryarchive.org/artists/edka-jarzab/

In November 2023, Alessandro Bosetti was invited by musician Donato Epiro to Castrignano de Greci, a Grika-speaking town (with Byzantine and ancient Greek roots) in Salento, to work on the sonic particularities of this unique language, preserved over the centuries in an enclave of a few thousand speakers in the heart of the Mediterranean. In “il cielo uno è” a list of nouns consistently repeated and declined in the instances of the Grika language is compiled. Such a list maps a world that not only extends horizontally over the territory of Salentinian Greece but also sinks deeply along the vertical of time and from which it brings out words and meanings that are ancient but still surprisingly close.

Artist bio:
Alessandro Bosetti, born in Milan and living in Marseille, is a composer and sound artist with a particular interest in the musicality of language and in the voice, conceived as an autonomous object and an instrument of expression. His works enacts a dialogue among language, voice, and sound within complex tonal and formal constructions, often crossed by oblique irony. Bosetti creates surprising pieces and devices questioning aesthetic categories and listening postures.

Website/social links
http://www.melgun.net
https://www.instagram.com/alessandrobosetti2023/
https://www.facebook.com/alessandro.bosetti.5

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
 
plus short work:
 
SisterArt Collective - DIKTATS (de la beauté) - DIKTATS (of beauty)

Diktats (of beauty) is an immersive and incisive sound work that criticizes today's beauty canons, which promote an ‘algorithmical beauty’. Based on a poem of Laure Gervais (French), denouncing the instrumentalisation of beauty, this immersive and incisive sound work plunges the listener into a cold surgical atmosphere. The artwork underlines the obsession with self-image through the over-consumption of beauty products and cosmetic surgery. The perfect beauty complex leads to extreme behaviours, to the point of losing one's identity and uniqueness. The perfect symmetrical beauty many women tend to seek is cold and rigid. In fact, it is a morbid concept of beauty. The soundtrack is both French (poem) and English text. Diktats (de la beauté) / Diktats (of beauty) is a composition by the SisterArt collective with Laure Gervais, visual and performance artist and Catherine Nowak, actress and drama teacher based in Brussels, Belgium.

Artist bio:
SisterArt is a collective of multidisciplinary artists who combine a passion for visual art with that of performing art based in Brussels, Belgium.
Founded in 2009 by Laure Gervais, visual artist, author and sociologist, and Catherine Nowak, actress and drama teacher, the collective joined forces in 2019 to create a non-profit organisation by surrounding themselves with stage and audio-visual professionals. SisterArt Collective is author and producer of its own multi-faced creations : screendance short movies, experimental soundtracks, drama plays and live performances.
http://www.sisterart.be

1 ) Marco Lampis - Phantom Materials, Paolo Crimam’s exhibition at Infinite Display (12:02) 2 ) Ruptured World - Haunted Radio (10:37) 3)  Emmie McLuskey – The A - Z of Movement - Part Three:  A to G for voice and double bass (22:20) 4)  Luba Diduch - Snow melting with a backbeat (3:21) 5)  Female Laptop Orchestra - Telematic City Jam-Glasgow (10:08) 1) Marco Lampis - Phantom Materials, Paolo Crimam’s exhibition at Infinite Display Conceived as an audio guide for an imaginary artwork created by a fictional artist and hosted in a fictional museum, the track guides the listener inside the museum hall, where the main artwork takes shape.
PM is the natural continuum of my research, which broadly focuses on the relationship between listening and seeing. It is an extension of my previous works, such as Object Shape Description, where I “described” objects using subtle labial sounds, and Before the Eyes, a series of audio descriptions of contemporary art exhibitions for the visually impaired.
This work reflects my fascination with language and sound as descriptive tools, capable of guiding the listener in the exploration of mental images drawn from their own personal experience. This allows them to construct an imaginary world— in this case, the exhibition spaces and the artwork— transforming their role from a passive listener to an active spectator. I am an interdisciplinary artist exploring the intersections between echolocation, laser scanning, and ekphrasis, as I seek connections between these interests.
My artistic research is driven by the pursuit of an intellectual sympathy that allows me to align and tune myself with objects and reality in an absolute way. Over the years, I have worked on various projects that merge sound, perception, and space, constantly pushing the boundaries of how we experience the world through different senses. My practice is shaped by a deep curiosity for how sound can influence visual understanding, leading me to explore new and immersive ways. marcolampis.tumblr.com http://www.beforetheeyes.vision   2) Ruptured World - Haunted Radio "Haunted Radio" is an exploration of the weird and the eerie in relation to radio noise and the sonic extremities of the radio medium. Ali Rennie (Ruptured World) is a sonic artist and composer from Aberdeenshire, Scotland. Rennie has an MSc in Sound Shaping and Audiovisual Practice from the University of Glasgow and is currently studying for a PhD in sonic arts at the University of Aberdeen. He has released several albums under the name of Ruptured World with the cinematic dark ambient record label Cryo Chamber and is also known as a writer of weird fiction, publishing the novel "BleakWarrior" in 2016 and the fiction collection "Hardweird" in December 2024. alistairrennie.com rupturedworld.com 3) Emmie McLuskey – A to G for voice and double bass A live recording made in London in May 2023, the first day of hot sunshine that year. This twenty minute piece is part of a larger body of work by Emmie made in collaboration with choreographer Janice Parker. Taking the alphabet as it's starting point the pair have created a vocabulary for movement that every 'body' can do. In Part Three we hear vocalist Robyn Haddon and double bassist Otto Wilberg use the prompts 'A is for Angle, B is for Balance, C is for Circle, D is for Dab, E is for Elastic, F is for Fall and G is for Grow to improvise a new piece that unfolded outside on the streets in Chalk Farm. Emmie McLuskey is an artist and producer who lives in Glasgow. Recent presentations have taken place at Govan Project Space, Talbot Rice Gallery, The Travelling Gallery, Collective, Sissi Club Marseille, Dogo Residenz für Neue Kunst, Switzerland, nadine, Brussels and KW, Berlin. Since 2021 Emmie has led The School of Plural Futures with ATLAS Arts and in 2022, she was the Associate Artist for Edinburgh Art Festival. Emmie is currently working towards a new children’s book titled The A - Z of Movement with choreographer Janice Parker.   4) Luba Diduch - Snow melting with a backbeat This track was made by using a hydrophone that was submerged in a pile of melting snow and vernal pool in the springtime. I was surprised to discover the amount and variety of sound this recording generated. Vernal pools predictably appear with a seasonal rhythm – arriving and departing at the same general time and place, sometimes for thousands of years. They are the result of melting snow and are a safe predator-free habitat for certain species. My art practice explores notions of interactivity that evolve due to the presence of expanding and transforming architectonic schemes in and around artworks. In both research and art practice, I am particularly interested in the ways in which audiences with highly differential levels of commitment with an artwork provide possibilities for the examination and understanding of co-creativity. Collaborative and participatory projects that explore how environments such as the world’s forests and wild spaces can be seen as creatively productive spaces and are of particular interest in my practice as an artist who often works in the wilderness of Canada. https://soundsfromthebiome.bandcamp.com https://www.linkedin.com/in/luba-d-727319a/   5) Female Laptop Orchestra - Telematic City Jam-Glasgow ‘Telematic City Jam - Glasgow’ explores network resources jointly with a new instrument, the CubeHarmonic that mixes up chords and is based on the Rubik’s Cube. The entirely digital 4D-CubeHarmonic (coded by T. Yoshino, Japan, and conceptualized by FLO member Maria Mannone), is accessed from different locations, and sounds are transmitted from each laptop to Loopback. A remotely-accessed IBM quantum circuit is a decision-making helper for chord-variation maximization. During the performance, the live audio streams (acoustic and prepared instruments, voice, live electronics, environmental loops, synthesizers and Web Audio instrument Playsound.space) will be sent by FLO members from Brazil, Australia, Croatia, Poland and Italy, and mixed in Spain. The resulting blend of distributed music will be recorded (in February 2025) so that it can be streamed as part of Radiophrenia 2025. The work is a networked musical performance joining computer science, mathematics, and quantum physics and is currently under development. Female Laptop Orchestra (FLO), a music research project established in 2014 by Nela Brown, connects female musicians, sound artists, composers, engineers and computer scientists globally, through co-located and distributed collaborative music creation. Each FLO performance is site-specific and performer-dependent, mixing location-based field recordings, live coding, acoustic instruments, voice, sound synthesis and real-time sound processing using Web Audio API’s and VR environments with audio streams arriving from different global locations (via the internet and mobile networks). From stereo to immersive 3D audio (and everything in between), FLO pushes the boundaries of technology and experimentation in ensemble improvisation and telematic collaboration. https://f

"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/

"Sound Desert" is the outcome of an artistic exploration carried out in Arica; the [current] Chilean city that borders Peru and Bolivia, in the heart of the Atacama Desert.

The project consists of five works as diverse as the territory inhabited by them. A sort of auditory promenade along the coast, the multiplicity of voices in an international bus terminal and in a farmer’s market, the ecosystem of an endangered wetland, and the ghosts of an unoccupied train station; are the elements that invite you to hear the sounds of a borderland.

Artist bio:
Historian graduated from the University of Tarapacá and Master in Creative Documentary from the Autonomous University of Barcelona. He has also received training in documentary filmmaking through various courses held in Chile, Cuba and Spain. He lives and works in the tri-border area of Chile, Peru and Bolivia, where he develops artistic and cinematographic projects with his production company: Candelabro Films. "Sound Desert" is his first sound art project, which won the Field Recording Award at the 28th Phonurgia Nova Awards in France. The sound piece has also been selected to the Longueur d'ondes, RIDM Montreal, Tsonami festivals, among others.

Website/social links
http://www.desiertosonoro.com
https://www.instagram.com/candelabro.films/

Tape letters between two friends, one living in a blanket fort, the other in a house of paper, and both deeming each other’s homes unsound, can’t seem to agree on who should visit the other. So instead, one of them builds a house they can meet in, out of the safest material: Noise.

Biography:

Yara is a musician and puppeteer based in Beirut, Lebanon. She incorporates accordion, metallophone and electronics in her live performances. In addition to her musical work, she has participated in exhibitions where she featured sound and video installations including ‘Sonatina for 19 Music Boxes’ (interactive sound installation), ’The Cut-Throat Finch Preludes’ (tape loop installation), ‘I Liked it Better When We Lived on See-Saw Hill’ (video installation) and ‘Lapses’ (interactive sound installation). Last year she released  ‘Mr. Samuel’s Teatime Stories for Good Kids and Confused Adults’ - A puppet film in four parts.


Links:

Website: https://yaraasmar.com/

Bandcamp: https://yaraasmar.bandcamp.com/album/stuttering-music

Instagram:  https://www.instagram.com/microwave.blues/

Related video:

https://www.youtube.com/watch?v=BhLch7CdWAU

Liquid Polyphonies is a sound composition that is based on a field research in the European parts of the North Sea (2022). By weaving together anthrophone, biophone, and technophone sounds, and by searching for sonic analogies between the human and non-human through a combination of voice recordings, foley recordings, and field recordings, Lotte and Gillis create an electro-acoustic composition that emphasizes the interconnectedness between human and non-human entities at sea. Liquid Polyphonies is part of the residency program of Phonurgia Nova (FR) and was created during a residency at GMEM in Marseille.

Artist bio:
Landforms is the sound collective of Gillis Van der Wee and Lotte Nijsten. Together they create radio documentaries, sound walks, sound compositions, and transdisciplinary performances that approach the fragile relationship between humans and (micro)landscapes from the perspective of Acoustic Ecology and Sound Studies. Landforms' artistic research is currently centered around interspecies listening and sonic intimacy, by investigating how a sense of interconnectedness can be forged through the ear. Lotte and Gillis' works are featured on radio stations, festivals, museums, and theaters, and were selected for multiple awards, including: Best radiofiction (Prix Europa, 2020), Prix Découvert (Phonurgia Nova, 2022).

Website/social links
https://www.landforms.be/
https://www.instagram.com/_landforms/
https://www.instagram.com/lottenijsten/
https://www.instagram.com/gillisvdw/

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

Situated on the lower tidal reaches of London’s river Lea, Cody Dock is a centre for arts, community, culture and learning. Promoting collective ownership of Cody Dock and welcoming people of all ages, abilities and backgrounds to join in the restoration of the dock itself and a celebration of the Lea River.

Originally presented as a 6.1 sound installation on the site Confluence takes cues from a recent ecology report detailing the wealth of unexpected biodiversity within Cody Dock’s superficially industrial and urban location, and looks to highlight this often hidden and unsung web of more-than-human life through sound recordings made during an extensive period of listening and field recording.

The work draws on material gathered with various field recording methodologies including ‘drop rig’ overnight recording setups, ultrasonic bat monitoring devices, audio from a riverside hydrophone listening station, as well as underwater soundscapes from the river, dock and pond, alongside contact microphone recordings of hidden vibrations within the site’s plants and soils.

A special thank you to the creatures whose voices feature in this work, including those from the River Lea whose identities remain a mystery.

Confluence was created as the result of Cody Dock's 2023/4 Lighting Up The Lea environmental arts commission. With support from Cockayne Grants for the Arts, The London Community Foundation and National Lottery Heritage Fund.

 
Biography

Tom Fisher is a sound artist and musician working primarily under the name Action Pyramid. His projects vary from site-specific sound installations for galleries and museums, to experimental radio works, documentary film and music.

His creative practice involves using sound and composition to facilitate a reconsideration of our surroundings, examining the relationship between ourselves and the nonhuman, and our part in the wider ecologies of landscapes.

With a multitude of recording techniques, often aimed at exploring and re-interpreting the seemingly unnoticed and unheard elements of our surroundings, he looks to present compositional and spatial expressions of these acoustic phenomena in a way that attempts to offer up alternative perspectives regarding perceptions of scale, hierarchical bias and the interconnectedness of living things.

His work has been featured at LUX, Tate Modern, Tate Britain, Cafe OTO, The Grant Museum of Zoology, London Transport Museum, Project DIVFUSE, Cody Dock (UK), Musée Réattu, Bibliothèque Nationale de France & Jardin des Plantes (FR), the Fjuk Art Center and Husavik Whale Museum (IS), as well as on BBC Radio 3 & 4, Resonance Fm, Radiophrenia, and as part of Archipel Festival (CH) & Open City Documentary Festival (UK). He is the recipient of Phonurgia Nova Award 2021 in the Field Recording category.
He has also led numerous workshops in collaboration with Goldsmiths, University College London and University of the Arts London and participated in artist residencies at RIVERSSSOUNDS (Online/Ukraine/Romania), Fjuk Arts Centre (Iceland), and BioArctica (Finnish Arctic).

In addition to his independent projects Fisher writes and performs music as a member of the band ILK, with their debut album being released in collaboration with Matthew Herbert (New BBC Radiophonic Workshop) in 2017 on Herbert’s Accidental imprint. This release was followed by a remix EP in 2018. The band have played shows with some of London’s most noteworthy promoters including Eat Your Own Ears and Parallel Lines. Both ILK and his solo music have received airplay on BBC Radio 1 & BBC 6 Music.


@actionpyramid
+447905554346

Artist website / http://www.actionpyramid.com/
Commercial work portfolio / tomfishersoundportfolio.com/

“Sottopelle” (Italian for “Under the Skin”) is a sound project that blends spoken word, resynthesis, and sampling to create an intimate and surreal auditory journey. Narrated by the evocative voice of Yan Leiva, it guides the listener through dreamlike landscapes where reality and imagination intertwine. Each segment unfolds like a metaphor, reflecting on themes of human connection, the chaos of existence, and the search for meaning within disorder. The narration serves as the core around which the entire composition revolves, connecting atmospheric soundscapes with melodic elements that range from ethereal to deep, resonant tones. Through careful layering of ambient textures and reimagined samples, “Sottopelle” strikes a delicate balance between light and darkness, vastness and intimacy, inviting the listener to a space that is both introspective and expansive. Like a story whispered before bedtime, but crafted for adults. Artist bio: Maestrale is a Frankfurt-based dancer and electronic music composer who primarily creates music for dance companies. Notable works include “Arcipelago” for Balletto Teatro di Torino, which won an award at the Torino Film Festival, and “Do Androids Dream of Electric Sheep?” presented at the Cocotte Festival in Lyon. Outside of this, Maestrale explores new sounds through club DJ sets, mixing genres from ambient to techno, with his recent set featured on NTS. He is currently composing for “Join,” a production by Ioannis Mandafounis for the Dresden Frankfurt Dance Company. Website/social links @emanuelepiras_ @____maestrale____

‘The Tellings’ is a sound collage with spoken word performances forming 20 fragmentary narratives situated in an eclectic soundscape with elements of hip hop, post punk, DIY cassette music, VHS soundtracks and atmospheric recordings. Like the music, the narrative element jumps around in tone, voice and setting. It uses the bizarre, imaginative qualities of alien abduction stories as its source material in order to highlight the potentially unsettling and lonely nature of individual perception. It is written in a manner which suits the ADHD mindset; looking at a subject from multiple angles simultaneously and in a non-linear way. Both words and sound combine to create a woozy, immersive experience somewhere between a radio play and a mixtape. 'The Tellings' was previously released on a small run of cassettes (on Spirit Duplicator, 2024). The words are mine and are performed by me, Nathalie Boobis, Micheal Orrell, Emily Furneaux and Lewis Henson.

Artist bio:
I work under the name Good Vallis and create sound and written works. Coming from a background in hip hop, I take the collaged aspect of sample-based production and expand it to draw on a wide range of influences. I am driven by the written word and the vivid images and narratives this creates. Most of my interest lies in the intersection of sound and words, but I also write short fiction. I have ADHD and I draw on this in my creative processes to both understand and represent the fragmentary and non-linear ways in which I experience the world.

Website/social links
https://goodvallis.bandcamp.com/album/the-tellings

https://www.instagram.com/anth_nyday/

These are the dispatches of a “83”, a solitary Radio Operator stationed at a remote outpost in Limbo.

His duty is to monitor the blizzard of static and report back anything of note….
As the characters, music and ambiguous broadcasts emerge the Operator comments on the recordings as well as life at the mysterious Outpost.
 
But why does HQ never answer?

Where are the broadcasts coming from?

And who is Old Leonard?

In Episode 1 we meet the organiser of a horror swimming event, hear a song about a crocodile and 83 reflects on a supernatural experience.

Episodes 1-6 plus bonus episodes are at limbotapes.podbean.com

Artist bio:
Pete Hazell (a.k.a. Titus 12) is the artist/producer/presenter behind Limbo Tapes, Radio Limbo and Limbo Calling. Based in Bristol, he juggles these three entities with help from Sean Lee.
These platforms are home to cassette releases of electronic music, Radio shows on Bristol’s Noods Radio, and the fiction/comedy/variety podcast Limbo Calling.

Website/social links
https://limbotapes.podbean.com/
https://soundcloud.com/limbotapes
https://limbotapes.bandcamp.com/

1) I broke the vase – Sikinos (9:22)
2) Laura Phillips - Rhybudd 4 munud/ 4 minute warnings  (16:00)
 
 
1) I broke the vase – Sikinos

This piece was developed the past summer during a residency on Sikinos, a Cycladic island in the Aegean Sea. The sound work is part of a larger performance that features original music and texts, written on-site and inspired by our exploration of the island’s landscapes and history—marked by pirate raids and its past as a place of exile. The work also draws on a recent tragic event: the disappearance of two women hikers, which left a lasting impression on our time there.

I broke the vase (Eva Matsigkou, Nefeli Sani) was formed in 2018. They create performances blending listening, free improvisation, and composition using instruments, voices, electronics, and site-specific elements. Their work incorporates autoethnographic texts, soundwalks, and feminist, care-centered practices. They’ve produced the experimental film The Greatest Love of All and the award-winning podcast Sonic Memorabilia. Their projects have featured in festivals like Tectonics Athens and Electric Nights, and in exhibitions including Plásmata and Sheltered Gardens. They’ve been artists in residence at Syros Sound Meetings and the University of Michigan, and participated in 2023 Eleusis European Capital of Culture.
https://rekemrecords.bandcamp.com/album/--3
https://ibrokethevase.wordpress.com
https://www.instagram.com/ibrokethevaseduo
https://www.facebook.com/Ibrokethevase
https://soundcloud.com/ibrokethevase


2) Laura Phillips - Rhybudd 4 munud/ 4 minute warnings  

4 tracks which began as sonic research with the CND Cymru archives in Aberystwyth. Included are interviews, field-recordings, pirate broadcasts by the Voice of Nuclear Disarmament, old tapes & optical sound & an organ in Ceredigion.  Presented as a psychogeographical meandering in the welsh landscape; these works were inspired by the 1982 Campaign for Nuclear Disarmament Cymru & Women for life on Earth (WFLOE) marched from Cardiff to RAF Brawdy. RAF Brawdy was a US Submarine Tracking Station (NAVFAC) and in fact the largest terminal in a worldwide network of undersea listening stations tracking Soviet submarine movements in the northern Atlantic. Brawdy on the face of it seems very nondescript and unassuming, but it's amazing what lies beneath and the significance of this place and the extent of militarism in Wales.

Laura Phillips b.1986 Bristol, is a non-smoking, sagittarius, dysgwr (welsh learner) who is often found loitering around the A44 & A470. She is an artist who uses a mixture of 16mm photochemical film processes & field recordings. Often working at the intersection of visual-music, expanded film and performance, her work explores obsolescence, ideas of the commons & information infrastructures. Her Work ‘Geoluread & Genie’, 2017, was purchased by the Arts Council England Acquisition Committee 2018. Her most accomplished outputs include climbing Aran Fawddwy, solo exhibition at Mirror, Plymouth & undertake a Fellowship at the British School in Rome.

@lauraphillips86

3) Alexandra Bell - The Pink Glass Swan (13:30) 4) Claire Barwell Flat Life #4 (1:00) 5)  Hannah Aliza Goldman - Summer in Brooklyn (3:12) 6) Studio Cybi - Post-Contemporary Commodification (5:29) 7) Sarah Rossman and Andy Li - Intrusive Thot: Episode 1 (Gloria) (8:35)     3) Alexandra Bell - The Pink Glass Swan "The Pink Glass Swan" is a sound play which satirises the art world, inspired by Lucy Lippard's 1977 essay of the same name. The essay describes the curious class hierarchy of the art world, where artists are persistently working 'upwards' to be accepted; whilst the art industry (which critiques, exhibits and purchases art) works 'downwards' to identify with the artists as workers and creative associates. Factual references shows the dilemmas at play in a mostly middle class system (such as Nicholas Serota's application for the Tate Directorship, entitled 'Grasp the Nettle' and his Dimbleby lecture where he justified his pay); Arts Councils' diversity strategies; and artybollocks.com artist statement generators). The work uses a fairy tale, humorous style to illustrate that nothing in life is black and white - our society exists through interdependencies, compromises and games. 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   4) Claire Barwell Flat Life #4 Children play in the garden below my flat. Sometimes they call out! Claire Barwell once made films and now makes very short sound pieces.   5) Hannah Aliza Goldman - Summer in Brooklyn Recorded in Brighton Beach, Brooklyn in July 2024. Hannah Aliza Goldman (she/her) is a producer, performer, and voiceover artist based in Brooklyn, New York. Her original audio play, "In the Kitchen," had a sold-out run in 2020 and was featured at the Jewish Museum of Maryland. "In the Kitchen" wove the stories of Jewish women from Arab lands with original musical compositions and poetry, and was paired with a recipe box by Awafi Kitchen. As a producer, Hannah has worked for Citizen Racecar and the CWA Oral History Project.  She is a proud graduate of the Salt Institute of Documentary Studies. Instagram @imhannahgoldman   6) Studio Cybi - Post-Contemporary Commodification Recently, SC has expanded into online broadcasting, creating audio poems that continue their commitment to experimental, multidisciplinary work blending art, sound, and narratives of marginalised communities. This initiative enhances their exploration of contemporary issues through diverse media. The poem "Post-Contemporary Commodification" critiques the commodification of life and art in modern society, highlighting alienation, systemic oppression, and environmental degradation. It contrasts the sacred, referencing ancient practices like sacrifice at Llyn Cerrig Bach, with contemporary realities, where institutions and state agendas slowly crush individuality and authenticity. The imagery of cheap bread affecting gut flora symbolises capitalism's negative impact on human well-being, while art on dead walls critiques the commercialisation of culture. The soundscape laments the erosion of values, focusing on survival in a society disconnected from community and tradition. STUDIO CYBI (SC) is a curatorial duo from Holyhead, North Wales, comprising artists Iwan Lewis and Rebecca Gould. Their practice is rooted in shared experiences of living in communities facing challenges under a hostile political climate. SC's practice is a symbiosis of art and curatorial work, consistently driven by a focus on political and social realities, particularly those affecting communities in Wales. Since 2016, SC has been curating site-specific exhibitions and projects, engaging with unconventional spaces such as local holy wells and their own dining room, while addressing issues of place, community, and politics. http://www.studiocybi.com http://www.instagram.com/studiocybi 7) Sarah Rossman (words) and Andy Li (sound design) - Intrusive Thot: Episode 1 (Gloria) This is a pilot episode of a semi-autobiographical podcast series that is meant to give the listener access to the experience inside the mind of someone with Obsessive Compulsive Disorder. In each episode, the narrator tries to accomplish a mundane task but gets derailed by her OCD. Sarah Rossman  is a writer/performer based in NYC. She strives to generate narratives about mental illness and trauma that combat stigma  and spark joy and laughter. Sarah's work has been performed at the Williamstown Theater Festival, the American Repertory Theater,  Joe’s Pub, 54 Below, and The Other Palace Theater. Andy Li is a Chinese-American composer/sound-designer based in NYC. Andy’s work has been performed at the Hudson Guild Theatre, Joe’s Pub, and The BringAbout. His commissioned solo carillon will premiere at the 2025 GCNA Congress.  Li and Rossman both received MFA degrees from NYU’s Graduate Musical Theatre Writing Program. http://www.sarahrossman.com

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
 
Plus short work:
 
Ale Borea - La humedad de la memoria

"La Humedad de la Memoria" is a sound piece created using samples from national Emergency Alert Systems (EAS) sourced from YouTube by audio enthusiasts. EAS is a public warning system that involves TV, radio, and cable networks, integrating elements of sonic warfare and social surveillance. This piece re-appropriates these sonic imprints to explore their post-mnemonic potential through creative reinterpretation, aiming to uncover new meanings. By decontextualizing these sounds from their original function—warnings of danger or catastrophe—it transforms them into a dreamlike soundscape. This approach invites reflection on the concept of "emergency," not just as a signal of threat, but as a space for the emergence of new possibilities. Vulnerability, alarm, and vigilance are stripped of their threatening connotations, suggesting the potential for a reimagined sonic future where the familiar sounds of alert evolve into creative expressions that challenge their intended purpose and invite new ways of listening.

Artist bio:
Ale Borea (Lima, 1993) is a Berlin-based percussionist and sound artist with a master’s degree in Philosophy, focusing on the phenomenology of listening. As an independent researcher, she writes about music for various publications and projects. She launched her solo project in 2020 and has released three EPs since then, in which she uses sound archive samples (mainly telecommunication noises) as carriers of affective resonance and collective memory. Her driving force is the aspiration to explore possible sonic deployments of these samples by expanding their inherent material vitality into dreamlike soundscapes.
http://www.instagram.com/borealeborea/

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
 
Plus short work:
 
Ale Borea - La humedad de la memoria

"La Humedad de la Memoria" is a sound piece created using samples from national Emergency Alert Systems (EAS) sourced from YouTube by audio enthusiasts. EAS is a public warning system that involves TV, radio, and cable networks, integrating elements of sonic warfare and social surveillance. This piece re-appropriates these sonic imprints to explore their post-mnemonic potential through creative reinterpretation, aiming to uncover new meanings. By decontextualizing these sounds from their original function—warnings of danger or catastrophe—it transforms them into a dreamlike soundscape. This approach invites reflection on the concept of "emergency," not just as a signal of threat, but as a space for the emergence of new possibilities. Vulnerability, alarm, and vigilance are stripped of their threatening connotations, suggesting the potential for a reimagined sonic future where the familiar sounds of alert evolve into creative expressions that challenge their intended purpose and invite new ways of listening.

Artist bio:
Ale Borea (Lima, 1993) is a Berlin-based percussionist and sound artist with a master’s degree in Philosophy, focusing on the phenomenology of listening. As an independent researcher, she writes about music for various publications and projects. She launched her solo project in 2020 and has released three EPs since then, in which she uses sound archive samples (mainly telecommunication noises) as carriers of affective resonance and collective memory. Her driving force is the aspiration to explore possible sonic deployments of these samples by expanding their inherent material vitality into dreamlike soundscapes.
http://www.instagram.com/borealeborea/