Sat 12

This piece was produced for the 2024 Heritage Open Days event in, St. Mark’s  Church, Ninebanks, Northumberland, England, which had the theme of ‘community’.  The community I had in mind was the creatures of the night that inhabit the same physical space as us and yet we tend to be unaware of them. I recorded bats and other sounds overnight in the church yard using an ultrasonic microphone. I then slowed these recordings down to so that they are within the human audible range. Some of the slowed bat calls are discernible as their social or echo-location calls, whilst others are stretched to extremes using the PaulXStretch software to produce a drone-like sound. There are also calls of owls and shrews in the piece. I layered and combined these various elements to make a composition. Everything in the piece is derived from the overnight rural churchyard recordings.      

Artist bio:  
Jim Lloyd was a winner in The Rialto ‘Nature and Place’ poetry competition (2020). His poems have appeared in many places including: The Rialto, Stand, One Hand Clapping, Poetry Wales, and Nine Pens Press. He has an MFA (distinction) in Fine Art from Newcastle University, and has just complted an art practice-based PhD at Newcastle University which consider how we can imagine being an animal. This research uses multiple methods, including creative writing, drawing, photography and field recording. He lives in Northumberland, UK.    

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

1 Aitana López Rodrigo & Sara Santana López - Malicious Track (21:12)    
2 Marcin Dymiter - Thousands, millions of meters of lost, recorded tapes (13:50)  
3 Catherine Noa - Release That  (6:14)  
4 seah - between the lakes (18:20)        

1) Aitana López Rodrigo & Sara Santana López - Malicious Track

This year, Sara has spent many hours copying the book Malicious Damage in the library of the Museo Reina Sofía. The only copy available to the public in Madrid is held there under the category of special materials, subject to a restricted regime of preservation and consultation. Her project Malicious Copy brings this story out of storage and back into circulation, reclaiming its legacy and updating its strategies.
Sara invited Aitana to create a piece documenting the process of copying. To do so, she composed a 40-minute audiovisual work in which the background noise of Sara’s study room is transformed through the manipulation of audio frequencies, highlighting the musicality, arbitrariness, and monotony of the copying process and intertwining them with Sara’s murmurs.    

Sara Santana López is a visual artist. In her work, she explores the idea of a shared library as a flexible and participatory space in which, as a reader, she can simultaneously occupy the positions of author, mediator, and audience. To do this, she uses conversation and small scale, establishing a correspondence between the intimate and the collective. She lives in Madrid. Aitana López Rodrigo is a visual artist and filmmaker. Her practice spans different mediums, exploring mainly the concepts of value and labor through artistic interventions within workplace environments. She lives in Rotterdam.    

Aitana López Rodrigo: https://aitanalopezrodrigo.com; http://noranje.space; @aitanalopezrodrigo
Sara Santana López: https://colectivomutuo.xyz; @sana_sartara

2) Marcin Dymiter - Thousands, millions of meters of lost, recorded tapes        

A sound collage "Thousands, millions of meters of lost, recorded tapes" dedicated to the cassette tape. The cassette tape was like papyrus, paper, or a notebook. It allowed content to be recorded—radio programs, songs, albums, but also (audio) letters, lectures, music rehearsals, poetry, and diaries.      

Marcin Dymiter moves in the field of electronic music, field recording and improvised music. He creates sound installations, radio plays, exhibitions and public spaces. Author of the books “Field Notes” and “Machines for Silence”. Independent curator of sound art. Member of the Polish Association of Electroacoustic Music.    

https://emiter.org/
https://emiter.bandcamp.com/
https://field-notes.bandcamp.com/

3) Catherine Noa - Release That  

Release That explores my auntie's outcry to ease the weight on my siblings and myself from our late mother's decisions and shortcomings on what would be her 55th birthday.    

Catherine Ashley is a Black multimedia designer and performance artist working across sound, installation, performance, and moving image. Guided by process and play, her work moves fluidly across disciplines. With a background in film, projection, theatre, and object-making, she creates layered environments that explore gesture, memory, and systems of transformation emphasized by visual and auditory experiences.  Ashley has exhibited work across the Northeast and internationally, and holds an MFA in Digital + Media from RISD.      

catherinenoa.com
instagram.com/inoaplace

4) seah - between the lakes  
     
"He died in a car crash between the lakes" was the official report on my younger brother's death last year. "between the lakes" refers to a stretch of land between Alcova and Pathfinder, in the mountainous high plateau lands just outside of our parents' home in Casper, Wyoming, USA. It's desolate. The day after my brother died, I flew to be with my parents. I drove out to the land "between the lakes" trying to find a trace of my brother's energy... hoping he would communicate with me or that I would at least feel him. There was nothing, just desolate. In the weeks the weeks following, I did the rituals and meditation as described in the Tibetan Book of the Dead. I never felt him, just emptiness ... yet, I kept the rituals and meditations going for the prescribed time. This composition is a meditation of that feeling space.    

seah is the artist name for Chelsea Heikes, an artist and writer whose work focuses on Critical Feminist Posthumanism, the body, and reimagining relational ecologies. Having trained in somatic movement practices such as Butoh, Body Weather Laboratory, and Noguchi Taiso, seah uses the cultivated awareness of sensation to explore the posthuman body as a conduit within the myriad of ecologies on this planet. These movement practices embody Deleuze and Guattari’s nomadology, the shifting terrain of the psyche - a beingness that is fluid, always in transition, “becoming”. seah approaches sound from this space.    

https://www.facebook.com/seah.artist/
https://www.instagram.com/seah_artist
https://bsky.app/profile/seah-artist.bsky.social
https://seah.bandcamp.com/
https://postdoomromance.bandcamp.com

The sound piece draws from a written testimony in which I have endeavoured to convey the distinct logic of my thought processes and the associations I was making during a lengthy psychosis. The monologue is non-chronological and echoes my fragmented memories. My spoken voice overlays a digital soundtrack in which I have woven together vocal pieces and music that I made on my computer whilst experiencing mental distress: an archive of that time.
   
Artist bio:  
Treading the backward path is part of a wider auto-ethnographic project exploring Louisa Fairclough’s lived experience of psychosis funded by an Arts Council England DYCP award, and will be performed at Figments: Madness, Health & Creativity conference at University of Glasgow, June 2026. Louisa’s solo show, Mental Falls, was at Danielle Arnaud Gallery (2024) and MIRROR Arts University Plymouth (2025). To coincide with Mental Health Awareness Week, Louisa curated Welcome to my World, a weekend programme of artists' screenings, performances and talks at the Arnolfini in Bristol in May 2025. Louisa is co-founder of BEEF (Bristol Experimental & Expanded Film).    

Website/social links  http://www.louisafairclough.co.uk

The 2025/6 Conduction Series    

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

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

1 Ana Sorina Corneanu - Lyre Bird (15:00)
2 Adrien Howard - Speaking A (for two voices) (19:36)    
3 Douglas Marshall - Like Regular Chickens (5:45)    
4 Adjowa Karikari - Meditation of the Electronic Drum (19:16)        

1) Ana Sorina Corneanu - Lyre Bird
 
The Lyrebird is an intimate, poetic audio drama following a woman who navigates illness, dementia, lost love, and the fragile boundaries between memory and identity. A delicate, lyrical piece about remembering, forgetting, and the human need to fly free. A 15-minute audio drama that immerses the listener in the fragmented consciousness of a woman nearing the end of her life. Living with the residues of cancer and the advancing fog of dementia, she prepares to leave her home for the Netherlands, where she has chosen euthanasia as a final act of clarity and dignity. Her mind fractures into three temporal selves — Happening (present), Diluted (past), and Metamorphosis (future) — each revealing a different layer of her memory and emotional landscape. Through lyrical monologues and vivid soundscapes, she revisits a love story with Nicole, a turbulent teaching career, her tango lessons in Argentina, and a deep, symbolic connection with Marcel.    
 
https://www.facebook.com/anasorina.corneanu/
http://www.catalinaflorescu.com/
 
2) Adrien Howard - Speaking A (for two voices)    

 Central to the work is a set of improvisational frameworks created for vocalists Axel and Christian Schneeberger to interpret and enact through predominantly non-linguistic modes of vocalisation. Shifting between ambient hums and moments of deliberate composition, the vocalists navigate a traversal of the voice—its internal contours and its relationship to the other. Axel and Christian’s improvisations work with both slippage and resonance as well as thresholds of instability through the different textural registers of the voice. Originally presented as a 4-channel audio installation, Speaking A (for two voices) has been adapted for different listening experiences.      

Adrien Howard is a writer and artist, working independently and with others to shape interdisciplinary projects often embodied through writing, printed matter, voice, sound, and performance. They live and work on the Isle of Seil, on the west coast of Scotland. Their practice moves through the edges of language and the body—attuned to how they are held, shaped, and spoken within dominant structures. Often site-responsive, their work drifts between physical places and more intimate thresholds: the page, the voice, the body—each a site of inquiry and expression.    

https://adrienhoward.com/
@_____adrien

3) Douglas Marshall - Like Regular Chickens    

This is the first track from an album released last month. It is inspired by the work of David Lynch, this track in particular is based on Eraserhead. Lynch's work has a lot of repeated motifs, one of which is the appearance of electricity in various forms, which I've incorporated here in the form of static and radio signals, which is why I'm sending this one to you. The vocal part is a poem written by my wife as part of her own similar project.

I'm also working on transforming this track in to a live version that I can actually play, this is a work in progress but it will incorporate the same sort of soundscape but without the vocal component and with additional live generated radio and EMF noise, I would be able and happy to stream this version if you would prefer that to the recorded track.    

An electronic and sample based musician from Scotland, Unthank began releasing solo music in 2020 after a number of years working as a part of other groups. His work spans a mix of different genres including ambient, trip-hop, IDM, breakcore, electro, rock, and jazz never fully alighting on one thing for long. In recent times he has moved from purely recording music to the creation of art and sculpture featuring audio components and has exhibited in open calls at Glasgow's Six Foot Gallery, as well as producing videos on streaming platforms.    

https://linktr.ee/unthank
https://unthank1.bandcamp.com

4) Adjowa Karikari - Meditation of the Electronic Drum      

In this piece I am exploring experimentation with using my dj controller as an instrument. I have been researching the history of the talking drum from Ghana in connection with drums from China and Nepal and how they are connected. I wanted to display the sounds of the drum as a call and response mixed with the experimental highly digitized sounds of sin and cos waves by Ryoji Ikeda. I see electronic music at the frequency level similar to the rawness of the drum in which it invokes emotion that consist of comfort yet sometimes discomfort. I also wanted to show the connection between the meditation of Nepalese monks in the temple with the abstractness of noise music. We are increasingly merging our digital and natural worlds, this sound collage was an example of how that relationship is in my head. Hope you enjoy!    

Ghanaian Toronto-based DJ, archivist, and curator, @999_adj traces Black music histories through a forward-facing lens, where breaks collide with electro, jungle dissolves into techno, and rhythm becomes narrative. Founder of 999HEARD and the archival radio platform 999_HEARDRADIO, 999ADJ’s selections are sharp, percussive, and emotionally charged.    

https://www.instagram.com/999_adj/

The 2025/6 Conduction Series    

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

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

Misophonics #1 is the first in a series of works which utilise recordings of unwanted, unpleasant, or distressing sounds (in this case a screeching seagull) and are transformed into ambient compositions.  The project is inspired by my experience of misophonia (a disorder in which certain sounds trigger a fight-or-flight response) and the need to find control over sonic triggers, and to find beauty in something ugly.    

Artist bio:  
Ross Whyte is an award-winning Scottish composer who writes for film and theatre. He completed a PhD in Musical Composition at the University of Aberdeen.  He later co-founded the duo WHYTE, an ambient electronic act known for modernising traditional Gaelic songs.  The duo won the prestigious Scottish Gaelic Award for Arts and Culture in 2019.  Ross currently performs with A New International.  

His new album 'Provenance' is out now.    

Website/social links  
https://www.facebook.com/rosswhytemusic
https://www.instagram.com/rosswhytemusic/
https://www.rosswhyte.com/

1 Agapi Zarda - Unbalanced Cycles (8:45)  
2 Cat Parasite - You Feel Me... Pulsing (5:00)  
3 Matilde Meireles – Three (11:49)
4 Linda Rae Dornan - Transcription: LoveLanguageLoss (5:27)

1) Agapi Zarda - Unbalanced Cycles 
 
The Unbalanced Cycles composition refers to unsuccessful and repeated treatment cycles that I have undergone over the past two years. It’s a narrative about me, trying to be functional and creative during an autoimmune disease and a cancer diagnosis.      
Agapi Zarda is a graduate of the Department of Science of Physical Education and Sports (UoA, 2011) with specialisation in Creative Dance, and the Department of Early Childhood Education (UTH, 2019) with research interest in Creative Music Pedagogy and Sound Technologies. In recent years, she has been engaged in electroacoustic composition and creative coding, exploring notions of interactivity, space – place and materiality. She holds a MA degree in sound art, “Sonic Arts and Audio Technologies” (Ionian University, 2024). She plays and studies trumpet focusing on the practice of free improvisation. She is member of Hellenic Electroacoustic Music Composers Association.    
https://agapiz.netlify.app

2) Cat Parasite - You Feel Me... Pulsing

First track from album "Toxoplasmosis." Recorded at Messiah Riff Studios. The album is about personal experiences of mental health and systematic procedures for receiving diagnosis.  This song is about the early warning signs and masking/hiding inner voices/ Pretending everything is ok. It touches on hypersexuality as a "symptom."

Meow      

Catparasite.bandcamp.com
Instagram - Cat Parasite

3) Matilde Meireles – Three

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

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

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

https://matildemeireles.com
mtld_meireles (instagram)

4) Linda Rae Dornan - Transcription: LoveLanguageLoss

This is an audio art piece about dementia and caregiving recorded over many years as I cared for my partner, John Asimakos. Transcription reverses text from my journal, uses cutup techniques and constant repetition collaged with John’s own voice as he tried to communicate. Constant repetition references the incomprehension and deterioration of language evident within the gradual decline of dementia patients.

The audio work attempts to share an interior space of intensity and tenderness within the isolated world of dementia.    

Linda Rae Dornan’s art practice is performative and interdisciplinary, inclusive of video, installation, performance, sound and writing. Each feeds into the other exploring how we speak/communicate and connect to each other, and the land around us. She has screened her videos and created performance artwork in China, Europe, and the Americas, and has attended many artist residencies. She is the recipient of the Linda Joy Media Arts Award for NB, the Stratbutler Award, The Sheila Hugh McKay International Artist Residency Grant and has been recognized by multiple arts grants. Since 2017, she has co-organized PERFform Biennale.    

https://lindaraedornan.ca/
http://www.perfform.ca/

1 Root Coiled - Merely Mended / Sterile Cap (15:27)  
2 Paul Collins - Radio Spots - Phone In, Phone (1:00)
3 Water Feature - Various Birds - cream-faced loon (1:33)
4 Kate Paul - Grasses Interlude (19:34)

1) Root Coiled - Merely Mended / Sterile Cap

A visit to the endodontist. A root canal is paid for. You open your mouth, they lock the jaw open.      

ROOT COILED is a sound art project of Pittsburgh based artist and educator, Dylan John Sidoriak. The project utilizes field recordings, ambient noise, and audio collages, to reflect and immerse oneself into the state of; sometimes forgetting about the center. Dylan John Sidoriak is involved with other experimental sound projects; The Ill-Fitting Party, and Stare Rail.      

https://www.instagram.com/rootcoiled/

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

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

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

3) Water Feature - Various Birds - cream-faced loon

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

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

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/

4) Kate Paul - Grasses Interlude

'My sadness is so joining and deep. The sky looks down at this plate of us with a strange
expression, like it must have entered the wrong room.'

A poem on dependency and existential threat in tall grasses, with sound by Ezra Berrnico and Carle Gent.    

Kate Paul is an artist and writer based in Glasgow. Her work with text, audio, facilitation, and performance has been exhibited/published with NoBounds Radio, Fieldnotes, Presse Books, NTS Radio, Hot Potato Magazine, Phytology, Ruskin School of Art, South London Gallery, Market Gallery, the ICA, and Conditions Studio Programme. She makes collaborative writing and performance events with noï neneh and Roya Zahra Shadmand. In 2023 she was a recipient of a Shady Dealings with Language grant. In 2025 she had a solo exhibition at Listen Gallery in Glasgow called Whatever is Called the World (38 min 28 sec).    

https://www.are.na/kate-paul-nfpxkafoju4/channels

@bait.ball

"EXTRATEMPORAL is an ongoing monologue where Robert muses about the concept of Time as his lover and asks, "How do you break up with time?". The monologue is an exploration of being (out-)with (of) time, consciousness and dreams."    

Artist bio:  
Robert Thomas James Mills is an artist, writer and rambler from Glasgow. Robert's practice often personifies the cosmos as a way to explore aspects of a human experience in relation to the universe. Robert's work starts with seemingly ordinary situations and aims to transport audiences to absurd locations of the universe. Robert likes to use de/re-construction methods on patterns, symbols and ideas to focus on the journey not the destination.    

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

Originally audio from a multichannel installation that was in Dunoon Burgh Hall a year ago, then reworked into a radio piece. Voices from various artists, activists and writers speaking about what resistance means to them overlaid on recordings from pro-Palestine / anti-genocide protests in the UK and recordings from the West Bank recorded by Iain Henderson.
 
https://ruaridhlaw.com/x-responses-for-changed-states 
 
ruaridh law / tvo / broken20 / no roof only sky. / logicofthesignifier
ruaridhTVO.com | broken20.com | noroofonlysky.com | logicofthesignifier.bandcamp.com

1) Adam Bohman - Troops Move Through The Undergrowth (3:16)
2) Sophie Sleigh-Johnson - Channel 5 Canticles (5:13)
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Lucavsala II (1:45)
4) Katalin Ladik - something  
5) Ji Youn Kang - Cross-wired Xylophone (2023) (14:18) 
 
 
1) Adam Bohman - Troops Move Through The Undergrowth
 
From the album 'Music And Words'

 
2) Sophie Sleigh-Johnson - Channel 5 Canticles 

From the album 'Nuncio Ref!' - the first-baked tape works of one Sophie Sleigh-Johnson.

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

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

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

Holsten?
3) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Lucavsala II  

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

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

Website/social links  
https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s
 
4) Katalin Ladik - something  
 
5) Ji Youn Kang - Cross-wired Xylophone (2023)

The analog instruments employed in this performance have been crafted at the intersection of time-continuous (analog) and time-discrete (digital) signal computations. The performer tries to traverse the circuits, interlinked with a Xylophone and the performer’s body, in search of unusual, non-standard combinations that expand their innate characteristics by deliberately introducing ’errors.’ The exposed breadboards and the Xylophone also facilitate active, and musical alteration of the signal flow throughout the performance.

Following her commissioned pieces Ni Envers Ni Endroit Que cette Roche Brulante (INA  GRM 2022) and Thinking Iceberg  (CTM 2024), the French composer Félicia Atkinson comes back to her interest for nature and its preservation, as well as her interest in painting. Wilhelmina, Glaciers Chasms, is an electro-acoustic piece for voice, field recordings, fender rhodes and electronics, inspired by the paintings of Wilhelmina Barns-Graham, especially ‘Glacier Chasm’ from 1951.

Transparencies, blue and grey, super-positions, free forms, resonance and sustains will infuse in this new electro-acoustic piece dedicated to the XXth century female Scottish painter.

A Radiophrenia Live-to-Air commission first broadcast on 23rd November, 2025. Recorded live at the Glad Café, Glasgow.

Biography:

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The french electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, midi instrumentation, and snippets of essayistic language in both french and english.

Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

Atkinson lives on the wild coast of Normandy and has played music since the early 2000s.

https://www.shelter-press.com/felicia-atkinson/
https://feliciaatkinson.bandcamp.com/

This experimental Scots translation of Catullus 63 tells the story of a young athlete driven mad by the Mother Goddess, driven to become an orgiastic priestess in the wild mountain woods, in a cacophonous reimagining of the Latin classic as a trans hymn to the Caledonian Forest. "Attis in Caledon" uses the full force of Scots to create a contemporary version of galliambic metre, the ancient poetic form of Cybele's centuries-long trans priesthood, and the poetry is complemented by original music and archival material woven together into a new work of noise alchemy. We ran through the ancient pines of Coille Choire Chuilc in the foothills of Beinn Os to bring you this magic.
 
Words and Performance by Harry Josephine Giles, Music and Sound Design by Callie Rose Petal (ⁿᵒᵗBorges)
 
A Radiophrenia commission produced with the support of Creative Scotland.

Harry Josephine Giles
 
Harry Josephine Giles is a writer and performer from Orkney, living in Leith. Her latest book is the poetry collection Them! (Picador 2024). Her verse novel Deep Wheel Orcadia (Picador 2021) won the 2022 Arthur C. Clarke Award for science fiction book of the year. Her poetry collections The Games (Out-Spoken Press, 2018) and Tonguit (Freight Books 2015) were between them shortlisted for the Forward Prize for Best First Collection, the Saltire Prize and the Edwin Morgan Poetry Award. Her stage show of her poetry sequence Drone toured internationally in 2019, and the performance of Deep Wheel Orcadia toured in 2025. She has a PhD in Creative Writing from the University of Stirling.
http://www.harryjosephine.com

Callie Rose Petal
 
Callie Rose Petal is a multidisciplinary conceptual artist and semiotician. Her experimental praxis spans noise composition, durational performance and ritual installation, software development, language art, and mixed media visual works in an immersive amalgamation of personal mythopoesis. Her work engages distortive breakdown as compositional force. As in her broader conceptual multiverse of Lexicomythography, loss, grief, and otherness emerge as structural generators of affect and form. Her work is informed by her lived experience as a disabled trans woman and trauma survivor.

1 Randa Megahed - Afkar Motakatea (11:37)  
2 Victoria Morton - Vita Minerals (2:42)  
3 Vincent Eoppolo - Vago Nella Nebbia Dei Miei Pensieri (7:35)
4 Domenico De Simone - CHANCE (7:10)  

1) Randa Megahed - Afkar Motakatea  

Afkar Motakatea is a sound work rooted in research around listening, resonance, and feedback. Formally, Afkar Motakatea exists between stability and instability. The piece unfolds through subtle variations in texture and intensity, moving through moments of balance, rupture, and saturation, before settling into a state of fragile and unstable equilibrium. Rather than seeking control or clarity, the work embraces fluctuation, resonance, and the loss of mastery, inviting the listener to engage in active, attentive, and embodied listening. This piece represents the chaos in my mind, unfinished thoughts, and the violence that surrounds us. Feedback, echo, and resonance are approached as closely intertwined phenomena, all based on transformation through repetition, reflection, and instability.      

Randa Megahed (1997) is a sound and visual artist based between Paris and Cairo. Her practice spans installation, performance, video, image, and sound sculpture, exploring obsolescence, fragility, memory, and the poetic and political potential of residue. She works with degraded images, family archives, repurposed electronics, and unstable sound devices. Megahed holds a Master’s in Musical Creation and Sound Art from Université Gustave Eiffel and INA GRM, a Master in Fine Arts from ESÄ Tourcoing, a Bachelor in Media Design from the German University in Cairo, and a pedagogical diploma (CFPI). Her work has been shown in Berlin, Marseille & Cairo.    

https://www.instagram.com/randa.megahed/

2) Victoria Morton - Vita Minerals

Vita Minerals is a sound collage of field recordings and improvised instrumentation. One central motif explores the acoustics of an industrial goods lift, proposing alternative structures for intuitive composition. Concertina doors become a musical instrument. Darkness and light, emptiness and potential claustrophobia are suggested by the sounds of mechanical motion and function. Natural sounds from the yard outside occasionally filter through. Vita Minerals was mixed by Luke Fowler and features on Grow Easy Love an LP by Onde de Bouche.      

Based between Glasgow and Frossombrone, Italy, Victoria Morton is an artist and musician known for her expansive approach to painting which sometimes extends into sculpture, textiles and sound works. Her work as a visual artist sits alongside her musical practice both solo, under the moniker Onde de Bouche, and in many collective initiatives, such as the art performance group Elizabeth Go, all female band Muscles of Joy, Sound of Yell and the music project Sotto Voce with Luke Fowler.      

@mortonvikki    

3) Vincent Eoppolo - Vago Nella Nebbia Dei Miei Pensieri
 
Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. 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://vincenteoppolo.bandcamp.com/
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=RzmH3nRoS0iHvsaNYWR4bw
https://www.youtube.com/channel/UCvTgM-QDa-d6roSJ8Y9Kurw
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

4) Domenico De Simone - CHANCE  
   
CHANCE begins in apparent innocence: fragments of recorded sound move with the freedom of improvisation, as if unaware of structure or consequence. This fragile play is gradually interrupted. Intrusive textures enter, destabilising the field, displacing what came before.
The piece does not resolve this conflict. Instead, it sustains a volatile exchange in which sounds construct and dismantle one another. Forms emerge only to collapse; tensions accumulate, then scatter. What seems playful becomes precarious. What seems destructive generates new openings.
Rather than illustrating a concept, CHANCE stages a process: a shifting sonic environment where balance is temporary and unpredictability is central. In the context of radio transmission, this instability becomes physical — attention is pulled, redirected, unsettled.
CHANCE invites listening as an encounter with flux, where structure and disruption coexist without hierarchy, and meaning arises from their continual collision.    

Professor of Electroacoustic Composition at the Music Conservatory of Foggia. Graduated in Composition, Electronic Music, Piano and Jazz.
Graduated in Composition at the Accademia Nazionale of Santa Cecilia and in Electronic Music with honors at the Conservatory of Santa Cecilia. He was awarded with the diploma of merit in Film Music by Ennio Morricone and in Composition by Franco Donatoni.
His compositions have been performed in more than one hundred concerts in Italy and abroad (China, Latvia, Canada, Chile, Argentina, Romania, Malta, USA, Ireland, UK, Spain, Austria, Brazil, France, Ecuador, Australia, Poland, Germany, South Korea, Portugal, Peru, Thailand, Switzerland etc.).    

https://www.facebook.com/domenico.desimone.7587
https://www.instagram.com/domenico.desimone.7587

1 Gabriela Serfaty and Gabriel Martinho, in collaboration with Veronica Daniela Cerrotta - Pé hablante (15:25)  
2 Paul Rooney - Axing for It (10:56)        
3 Sooji - First Loves – Venus (2:17)
4 Sop - Things I have done for money (1:35)

1) Gabriela Serfaty and Gabriel Martinho, in collaboration with Veronica Daniela Cerrotta - Pé hablante  

This project was born during Consonar, a sound art residency at Fazenda São João, in the countryside of Rio de Janeiro, within a mountainous body-territory of dense Atlantic Forest—already marked by the climate changes that continue to redraw the landscape.

During a collective walk toward a waterfall, we lost our way before ever reaching our destination. Later, we learned that the spring was experiencing a period of drought, its water now nearly absent.
Four hours later, the absence of water, the deviation from the path, and the body’s limit—each affected the other and cultivated another mode of attention.

The sound recording emerged as a vestige of that encounter: feet on the earth, dry leaves, labored breaths, shared headphones, and scattered beings began to compose a landscape in transformation. Walking, there, ceased to be mere displacement and became a gesture.
     
Gabriela Serfaty: Artist, psychoanalyst, and psychiatrist. She completed the artist formation program at Parque Lage in 2018. Since then, her work has appeared in exhibitions across Brazilian institutions. Her artistic practice departs from listening, unfolding into experiments in performance and sound art. 
 
Gabriel Martinho: Sound artist, filmmaker, educator, and therapist. He has been involved in international radio art and film projects. His doctoral transdisciplinary research currently investigates listening as both a technology and an act of creation—weaving connections between sound art and mental health.    

@gabiserfaty_

@gab.martinho
https://gabrielmartinho.com

 @veronica_cerrotta
https://veronicadaniela.bandcamp.com

2) Paul Rooney - Axing for It        

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

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

https://www.paulrooney.info/

3) Sooji - First Loves – Venus
 
First Loves #1 is recorded on the Sequential Prophet VS from 1986. It is a series of vignettes derived from improvisations from a single session, a brief dive into the capabilities of this instrument and was the precursor to First Loves: Sequential Prophet 10, released in 2022.
Sooji is a Naarm-based musician creating works that explore adventurous sonic territories through performance, composition and spatialised sound installations. Working primarily with synthesisers and electronics, she embraces the unexpected outcomes that arise from collaboration and improvisation.
Influenced by diverse sources such as classical music and Italian electronic composers, Sooji’s intuitive approach to composition creates works that sit outside of traditional genre classification and often manifest as surreal sonic landscapes.    
https://eternalmusicprojects.bandcamp.com/
 
4) Sop - Things I have done for money
   
An extremely short and simple list of jobs that I have done in my lifetime thus far. Any comment on precarious employment, the hustle, existing as an artist, turning my hand to anything / aka being a pure chancer would not be appropriate for me to make. ; )
     
Sop is a torn and crooked leaf, a root embedded in the dirt, a shoot reaching to the sky. An artist working in crip-time with sound, performance, writing, film and objects. They work primarily with nature, acting as a portal, to be able to interrogate their own experience of disability and existing in a chronically ill body, and more generally how the chronically ill body interacts with and relates to nature and the natural world. Their work tends to centre modes of sociality, starting with personal narrative, then expanding through dialogue with their crip community to include other bodies’ concerns.    

https://sop.rest/
https://www.instagram.com/sop__sop__sop/

Hello fellow listeners around the globe, you will listen to the soundscape stories from Southeast Asia and Japan. I am Gardika Gigih, a music composer and soundscape researcher from Indonesia. In 2019, I made a journey across Thailand, Malaysia, Vietnam, Singapore, and Japan to record and study soundscapes as cultural narratives, as a way for us to see and learn each other through the diversities of daily sounds. You will listen to these soundscape stories, from the sounds of Muay Thai supporters in Bangkok, Thailand; the Hau Dong ritual at Ninh Binh, Vietnam; immigrant workers around Southeast Asia, gathering on Sunday morning in front of St. Paul Cathedral, Singapore; frogs and insects from Tam Coc, Gongs from Wat Pan On, Chiang Mai, Yamadera Temple water in Yamagata, Japan; Akihabara Pachinko noise; and many more. This research is supported by the Japan Foundation Asia Center Fellowship 2019.     

Artist bio:  
Gardika Gigih is an Indonesian composer, pianist, and soundscape researcher. His works span numerous genres, from concerts to contemporary improvisation, film scoring, multidisciplinary collaborations, and sound ethnography. In 2019, he made a journey across Southeast Asia and Japan to conduct a soundscape study as cultural narratives in societies supported by the Japan Foundation Fellowship and published in http://www.lostinsound.art . In May 2023 at the British Library, his composition “Mimpi Owa: A Duet with Javanese Gibbons,” as a voice towards the climate crisis, won the “Sound of the Year Awards”, initiated by the BBC Radiophonic Institute and the Museum of Sounds.    

Website/social links   
https://www.artlink.ch/turntables/directory/profiles/gardika-gigih-pradipta

Radio Concrete #59 - Snezhana Reizen - Antenna

Introducing a special Radio Concrete episode by Snezhana Reizen.
Antenna. The madness of the day..

“Antenna” is a series of works on transduction with the sole sound source taking place - radio waves. Here I was devoured by discontinuity and discharge inherent to the "miracle of the wireless. the omnipresence.. the overleaping of frontiers” - the radio, like it was marked by R. Arnheim

This piece emerged in two phases: the first one can be called a transduction - a process of conveying potential energy from discharge into a signal. It was a spontaneous live radio-noise set recorded close to the closed shelter. This summer
I found myself stuck in between absence and presence in amplified senses,
confronting the avalanche of the noises erupting on us by this world, facing the chaos, “embracing alienation”, holding a degree of disbelief..
that this "disparity can be modulated”..

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

http://www.hagaizenberg.com/

1 ORKESTRAFRIA – Saltation (03:09)        
2 Jesse Peter Ash - Emergent Signal (7:48)    
3 Ricardo de Armas - Liquid Dream (06: 17)    
4 Gennaro Foglia - Last Resource (6:18)        
5 Hali Palombo - All of You on This Good Earth (6:56)    

1) ORKESTRAFRIA – Saltation        
 
Saltation documents two sand dunes in motion, driven by the northeast wind that strikes the city of Atafona. The piece is part of the album EROSION/DISAPPEARANCE that explores the sonorities of an ongoing geological phenomenon, an environmental catastrophe. Atafona is a district of the municipality of São João da Barra, located on the north coast of the state of Rio de Janeiro, Brazil, which is being destroyed by coastal erosion. Since the phenomenon accelerated around 60 years ago, the waves have destroyed more than 500 buildings and fourteen blocks of the town have been completely submerged. Climate change, regional events, the influence of the wind, the characteristics of the waves, the astronomical effects of the tides and the transport of sediment by coastal currents. Scientists believe that the convergence of all these factors in a single location on the Brazilian coast helps to explain what happens in Atafona.    
 
 ORKESTRAFRIA inhabits the liminal space between sound art, contemporary notation and experimental electronics. A hostile territory whose boundaries are drawn outside of time and space, yet deeply embedded in both. Limits governed by uncertainty, contamination and contradiction. It all begins with samples of exotic aesthetics, obtained through field recordings, which are later sculpted, remodelled and infused with electronic tones, with conceptual rigour and structural vandalism. Spaces as instruments, where temporality and impermanence embrace dissonance and fragility, reflections of the tragedy of a time when, perhaps, deep listening may be the salvation for blindness. ORKESTRAFRIA is Eduardo Bichinho (Porto Alegre, 1976).    
 
https://www.instagram.com/orkestrafria/

2) Jesse Peter Ash - Emergent Signal  
 
An exploration of the invisible and the organically unheard, mediated with century old analog technology. Dive into an ocean of static and noise to discover the strange electromagnetic phenomena and signal fragments of unknown origins that reside there, swirling around us constantly as we go about our lives. An acousmatic composition comprised of shortwave radio recordings collected in a single evening at dusk, and synthesizers, Emergent Signal investigates the mysteries of both coded signals, the strange noise that surrounds them, and the possibility of deriving meaning from either.      
 
Jesse Peter Ash is a Canadian sound designer, musician, and artist based in Dublin. With more than 20 years of creating collaboratively and individually his work spans theatre, dance, music and installation and has been presented across Canada and internationally. Currently pursuing a Master’s in Music and Media Technology from Trinity College Dublin, Ash’s recent work is focused on sonic investigations of the unheard, and sound out of time.    
 
www : jessepeterash.com
IG: jptrsh_
tumblr: jptrsh

3) Ricardo de Armas - Liquid Dream  
 
I imagine liquid dreaming as a suspended state of consciousness, a translucent matter where forms slowly dissolve.
Everything flows: soundscapes blend with drones that pulse in depth; voices, sometimes human, sometimes barely echoes, intertwine with referential sounds. Everything converges into a single stream, without hierarchies or contours.
There are no shores and no precise direction. Only a sonic drift, a current that invites one to be carried away by its slowness.
The body enters the diffuse threshold where wakefulness opens into dreaming and dreaming opens into listening.    
 
Ricardo de Armas was born in Buenos Aires in 1957. He lives in Bahía Blanca, in southern Argentina. He studied at the J. J. Castro Provincial Conservatory in La Lucila, Buenos Aires Province. He is an acousmatic composer, cellist, and cultural manager. He was a member of the Provincial Symphony Orchestra of Bahía Blanca from 1988 to 2020. He is the founder and coordinator of the Bahía[in]sonora Cycle and of the real-time creation group ARS[in]sonora. He is the coordinator of the UNTREF Aural record label. He has received national and international awards.    
 
https://ricardodearmas.net
@ricardodearmas

4) Gennaro Foglia - Last Resource      

Last resource is a composition between two opposites one is the natural part of
our soul symbolized by melodic instruments and musical loops, which are broken
by a mechanical part with industrial sounds and metal noises that represent the
destruction of the soul.the composition is composed of a part A with worldless
sounds, to create an unknown, new and uncomfortable sound imagery, all to be
explored, then moving on to a part B with both natural and instrumental sounds,
more comfortable and relaxing both for our state of mind and for our listening,
then a return to A and finally B againAll this contrasted with the video which is a
still image that represents the staticity and at the same time the movements that
the music gives to the image itself.    

Gennaro Foglia is a 28 year old composer and musician from San Paolo Bel Sito in the province of Naples. He studies at the San Pietro a Majella Conservatory, majoring in electronic music composition, currently in the first year of a master's degree. He has won several competitions, including the SomaRumor-IV Encontro Latino-Americano De Arte Sonora, the Sonic Nomads of Seoul, and Marginali. He plays bass and electric guitar.    

https://soundcloud.com/user-346904635

5) Hali Palombo - All of You on This Good Earth  

"All of You on This Good Earth" is a piece that is comprised mostly from audio files collected from the Apollo 8, Apollo 11 and Apollo 12 space missions sourced from the NASA Historical Sounds archive. It also features self-recorded audio from the BATC & AMSAT-UK QO-100 (Es'Hail-2) Geostationary Satellite WebSDR, guitar, binaural tones and field recordings taken at FermiLab National Laboratory in Batavia, Illinois. The composition is intended to mirror the general unease caused by Planet Earth's current iteration, seasoned with a useless salve of platitudes.      

Hali Palombo is a Chicago-based composer who works primarily with found sound and old media formats. Her practice leans on wax cylinders, shortwave radio, CB chatter and Midwestern field recordings - that which most people throw away or ignore, she treats as essential and profound. She recently completed a 2025 residency at Wave Farm in the Upper Hudson Valley of New York where she created Echolalia FM, a one-hour piece centered on repetition, communication, and the strange comfort of echoing sounds inspired by echolalia, a common coping tool in individuals with autism.    
http://www.halipalombo.com
http://www.instagram.com/haliannpalombo

6 dagger wound - death forces me to live (9:20)
7 Andreja Andric - Trashscape (II) (5:06)
8 Vincenzo Arena - Subterranean Ears (6.30)        
9 Chin Ting Chan - Refractions (5:47)  
10 Michelle gannon – Dissonance (2:22)    

6) dagger wound - death forces me to live
 
What has been living inside of me, the aftermath of experiencing the most unbearable and wretched pain. Of all my insides being twisted and desecrated and dying in the abyss and somehow coming back, somehow surviving. Reckoning with this loss has felt like drowning, capsized alone in the vast void. I wanted to devote myself to making something beautiful and raw for lawu, that can start to resonate with the ache inside of me since their death. With all the love inside of me and the love they gave me, I mourn and transmute. In life and death, intertwined beyond this sinister world, lawu eternally and forever. As death does us part.      
 
Dagger wound (LA) He/ it Harsh noise electronics with extreme performance art including needle play, body stitching, and live blood letting. dagger wound is a noise masochist bringing abrasive sounds with a strong political message and a cathartic and transgressive performance style that slices through reality. he is motivated by his desire for a better world and his lifestyle as an underground traveling trans freak. he has toured nationally and internationally as 1/2 of mirrored fatality and as dagger wound and has collaborated with multidisciplinary queer and trans artists across the world.
 
https://linktr.ee/dagg3rwound

7) Andreja Andric - Trashscape (II)
 
Trashscape (II) (2024) is a brief electroacoustic soundscape based on sounds of trash: dumping trash in bins, sounds of trash compactors, crumpling of trash bags, trash trucks and the like. The piece evolves in many fast-moving layers, resembling a cyclone, where sounds rotate and transform in ever different combinations.    
Andreja Andric (born 1973) is a Serbian composer and programmer, living in Aarhus in Denmark. He explores the intersections of mathematical processes, intuition and chance and uses computer programming as key means of artistic expression. With a primary interest in composition and performance for his networked laptop/smartphone ensemble, he is also active as composer of vocal and instrumental music and creator of video and multimedia art. His work has been performed on festivals such as ISCM World Music Days 2024 in Torshavn, Faroe Islands and 2019 in Tallinn, Estonia, ICMC 2022 in Limerick, Ireland and more.    
 
http://andrejaandric.com
 
8) Vincenzo Arena - Subterranean Ears      

Imagining a microphone placed inside a mole’s tunnel, the piece gathers and transforms barely perceptible underground sounds. A listening practice directed toward what usually remains beneath the surface.    

El Wud is an experimental ambient project built on sound overlaps, causal collisions and cosmic echoes.    

https://soundcloud.com/el-wud-1


9) Chin Ting Chan - Refractions

Refractions evokes a space where natural and artificial soundscapes converge and transform. Built from archival field recordings made in Kansas City parks (2013–14), it captures both the ambient vitality of nature and the subtle hum of human presence. Interwoven with piano resonances and the timbres of metal, glass, and water, the piece refracts the familiar like light through a prism—bending, dispersing, and reassembling it into a shifting spectrum of sound.

The piece is a study in transformation and distortion—its refracted gestures trace the irregular pulse of recollection, where memory shifts between moments of clarity and dissolution. In this ambiguous space, the boundaries between nature and artifact blur and bend, and echoes of the past shimmer briefly before dispersing into silence.    

Composer Patrick Chin Ting CHAN grew up in Hong Kong and came to the United States in 2003. He has been featured in events including Ars Electronica, IRCAM's ManiFeste, ISCM World Music Days, UNESCO International Rostrum of Composers, and Venice Art Biennale, among others. He has worked with ensembles such as City Chamber Orchestra of Hong Kong, Ensemble intercontemporain (France), Ensemble Metamorphosis (Serbia), eighth blackbird (U.S.), Hong Kong New Music Ensemble, Mivos Quartet (U.S.), and New York New Music Ensemble, with performances in more than thirty countries. His scores are published through BabelScores and Universal Edition.    

http://www.chintingchan.com
http://www.instagram.com/chinting_chan

10) Michelle gannon – Dissonance  

This work responds to taking a train journey across Ireland to access art education, transitioning from early morning West Coast rural landscapes, to immersion in the urban environment of Dublin City on the East Coast, and then back again in the evening, a 6-hour round trip. Sleep deprivation, and the shift between contrasting locations contribute to what can feel like a disjointed reality. Sound recordings capturing ambient sounds of Heuston Station, including the Public Piano, and the surrounds constitute the core of the piece. I am interested in how voices inhabit a space to induce emotional states, without the need for specific words to be decipherable. I also like to bring attention to non-human voices which are marginalised as we forge ahead in our industrialised world, and so the last ‘word’ is given to a resident Raven pair that build a nest each year near my home in County Mayo.    

Michelle Gannon is an emerging multidisciplinary artist born and based in The West Coast of Ireland. Recent projects include sculpting solid and sonic material to create work that converts the everyday mundane into art objects, looking for the poetic in diverse media such as soap, toilet paper, and public transport. Current work focuses on Gaelic folklore surrounding ‘An Cailleach’, and how this mythological figure is portrayed in the contemporary world.    

https://sites.google.com/view/michelle-gannon/home
https://www.instagram.com/michelle_gannon1/?hl=en

In WET PLAY, we wander a sodden and storm-wracked landscape in which play out the episodic rituals of a superstitious and introspective people subject to coercion and hypno- suggestion by means of misleadingly edited relaxation and self-help tapes, and bits of old films. 
 
Audiomontage, devised and edited with some original music by John Hall.
     

Artist bio:  
John Hall is based in South Cumbria, He explores archives, rotting plastic bags in charity shops and all things in-between to make audio, video,music and print about ritual, tradition and communal memory. He is artist / director of Artspace, produces Flypaper, a zine on vernacular creativity and is currently lead artist / project manager of REVERB: Independent Music and Community, with FON and Barrow Dock Museum. His latest 45 “ Familiar Music” should be out by the time you read this.

"A weirdly thrilling project" (Wire magazine)      

Website/social links  http://www.johnhallartistcumbria.com

1) Adam Bohman - At Home (Fishstock Or Pussy) (6:28)
2) Sophie Sleigh-Johnson - Napoleon's Violet (5:32)
 
 
1) Adam Bohman - At Home (Fishstock Or Pussy)
 
From the album 'Music And Words'
 
2) Sophie Sleigh-Johnson - Napoleon's Violet

From the album 'Nuncio Ref!' - the first-baked tape works of one Sophie Sleigh-Johnson.

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

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

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

Holsten?

"In 1953, at the age of eleven, I began my acting career at Radio Novi Sad, at a time when all programs—including radio plays and radio dramas—were broadcast live. The experience I gained as a radio actress later became an important source for my sound poetry works."

This work incorporates excerpts from the Hungarian-language audio archives of Radio Novi Sad (Yugoslavia, Serbia), originally broadcast on 212.4 MHz between 1957 and 2002.
 
Audio Engineering: Szabolcs Puha
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:
Katalin Ladik was born 1942 in Novi Sad, Yugoslavia (now Serbia) and is currently based in Budapest, Hungary where she has lived and worked since the 1990s.
Her artistic output is at once sprawling, prolific and singular. Beginning as a poet and expanding into performances in the 1970s she developed her own theatrical language which eventually came to incorporate sound and visual poetry, performance art, experimental music, audio plays, happenings, mail art, collage, and photography.
Throughout Ladik's work and particularly in her performances, the voice and the body (most often her own) converge to become a site in which the personal and political spheres overlap. Making use of diverse sources from mythic narratives to personal and everyday objects, she has consistently sought to investigate her role as a woman in her own Eastern European context, challenging dominant societal, sexual and gender norms.
  
She began her career with interventions on Radio Novi Sad (1963–77) and as an actress with the avant-garde theatre group Bosch+Bosch in the city of Subotica (1977–92). However, it was the publication of the record Phonopetica (1976) which drew the attention of sound poets abroad including Bob Cobbing, Gerhard Rühm and Henry Chopin who invited her to perform the Stedelijk Museum in Amsterdam in 1977, and led to her international recognition and prominence within the fields of sound poetry and visual art in which she remains active today.

She participated in documenta 14 in Athens and in 2019 the Italian label Alga Margen released ‘Phonopoetics’, a diverse survey of Ladik's audio work between 1968-1993.  
 
"Poet, actress, and visual artist Katalin Ladik has to be considered as one of the most pioneering artists alive...Her work is bound to feminist matters in Eastern Europe and reflects the personal, social and existential difficulties that female artists must face. Recurrent dual structures and the use of sexually ambiguous figures (androgynes and angels) as well as gender-neutralising elements inhabit her work, which occasionally acquires Shamanic overtones and integrates therapeutic mechanisms of liberation." 
– SoundOhm

Fragments used from the following radio plays / sound works:
1.    RADIO NOVI SAD_mp3 — Pause sound, sound pause on Radio Novi Sad by Ernő Király
2.    0008 TENNESSEE WILLIAMS – NÉMETH P. ISTVÁN — Cat on a Hot Tin Roof
3.    0016 VAJK VERA — Tale of the Seven-Spotted Ladybird
4.    0019 ANTE ILIĆ — The Legend of a Thousand Paper Doves
5.    0087 COLLODI — Pinocchio
6.    0136-0122 CARLO COLLODI — Pinocchio
7.    0205-0206 GYÁRFÁS MIKLÓS — Young Ladies in the Heights
8.    0208 MIHAL TONECKI — Encounter in the Fairytale Café
9.    LADIK KATALIN – FŰKETREC / GRASS CAGE — Katalin Ladik performs her own poems, 2002. WAV
 
The author of the interval signal of Radio Novi Sad is the composer Ernő Király
( 16 March 1919 – 14 December 2007 ).

Spacetime Roe (English Translation)
 
— Radio Novi Sad.
— Pistol, pistol, pistol.
— Latest report from the Korean battlefield: The North Korean troo troops have occupied three villages, villages. And never, never will anyone drop an atomic bomb on people.
— We hope so.
— The atomic bomb. They dropped it then on Hiroshima and Nagasaki.
— Isn’t that right, Tadeo Chan, you learn a lot in third grade about birds and flowers?
— A lot.
— It is already night. I am afraid.
— You needn’t be afraid, Taeko Chan, I know the way to the bus station.
— The others have already returned to the city.
— Mother thinks he is dead, but she is still waiting for him. I also think that one day my father will return to us.
— Breathe, breathe, like this. Breathe. Aha.
— “The Israeli units have entered Egyptian territory from several directions.”
— … but I am tired and my eyes hurt…
— I would like to write you so very much more, but I am tired and my eyes hurt. Another time, when I feel better, I will write you more.
— Here, here, Brick…
— Who is it? Who is it? Who is it?
— Has Mama gone?
— Nonsense! Ah…
— Brick, Brick… it’s all right.
— Pinocchio, Pinocchio, Pinocchio…
— Chirrup-chirrup, chirrup-chirrup.
— He-he-he-he.
— Radio Novi Sad… Radio Novi Sad… Radio Novi Sad… Radio Novi Sad…
— I… I… I don’t know.
— Ha-ha-ha!
— That’s a good joke, isn’t it?
— No… but I don’t think… I don’t remember. No. I don’t know. No. I wasn’t looking for you.
— Hello!
— I don’t know.
— I don’t know.
— Rifle, rifle, rifle, rifle, rifle, rifle, rifle…
— Pistol.
— I want.
— Leukemic?
— Radio Novi Sad, Radio Novi Sad, Radio Novi Sad, Radio Novi Sad, Radio Novi Sad…
— Katibul, come out!
— Katalin Ladik, Grass Cage.
— Hu, hu, hu, hu, hu… hu, hu, hu, hu hu…
— I walked among five stars, after the seventh star I bit into a carnation.
— Pale in your arms… you pour honey into me.
— Window sits. The last creeping moth. No-memory of itself. Mirror of destruction. As the first sound of creation was the vibrating sound, and every being has its own sound, its own mantra… so from the dark comes the one who speaks out of me:
“Where are you, where are you, my breathing window, healing of my shadow…”
— A dog wriggles beneath the bridge. I ask, am I moving in the right direction? Am I moving in the right direction? And it answers me in the voice of the flute. This is the voice of Satan, frozen music. This bridge, black branches, black buds… this vertigo… this vertigo… this vertigo… the vertigo…
— Radio Novi Sad.
— I look in the stone. Not there. I look in the wood, not there. I look in the stone. Not there. I look in the wood, not there.
— My life a leaping shadow. Over a low flame I extract… Behold, the first gate: its light-seed in a black coat. There is no other desert that brings death to stone but the desert of indifference. It gives its sweat to the newly arrived. It will become the two-lived shadow, the Materia Prima into which the scream moves in.
— Spacetime roe, spacetime roe, spacetime roe, spacetime roe, spacetime roe, roe roe roe roe…
— Laments, laments, laments, laments, laments, laments, laments, laments, laments, laments…
— At dawns, at dawns, at dawns, at dawn…
— Are you in the wood? I will overtake you. Are you in my death? I shall not know you.
— Again the same aching vertebrate existence, drowned light in a joyless coat. A croaking vortex of being in Indra’s net of pearls.
— I repeat: it brings about the creation of new worlds. It brings about the creation of worlds… it brings about the creation of worlds…
— This cracked wall is pregnant with sleeping sickness. Who is this wasp above me? Who is this woman whitewashing inside me? If all that surrounds me is wall, if I am a wasp and inside me this insect is human, then where do I end, where does the human begin?
— I look in the stone, not there. I look in the wood, not there. I look in the stone, not there. I look in the wood, not there.
— Radio Novi Sad.
— Few lived on that mountain. They smoked with sulphur all night long, waiting for the dawn of the Age of Aquarius. Some grave epidemic was raging in the jealously guarded Garden. With bloody wings, with burn wounds, they passed over the snowfields.

It has often been said during this past year of the pandemic that Covid is ‘only the beginning’ and that the much larger crisis ahead of us is climate change. An obvious question to ask then is: What is our relationship to the environment? And is the natural environment interesting enough to us – indeed, do we know enough about it - that we would want to protect and save it from further ravages?

The sound environment has much to tell us - it simply ‘voices’ all activities - and if we dare to really listen, we may sense the depth of the environmental trouble the world is facing.

During the past year I decided to re-examine the many sound recordings I have made since approximately 1977/78, when I got my chops in field recording while producing and broadcasting my radio program Soundwalking on Vancouver Co-operative Radio. Without knowing it then, it formed the base of my recording approach for many years to come. The idea of including my voice while recording the environment was there from the start and was based in the desire to acknowledge my recording presence to the radio listener. In other words, in speaking together – acoustic environment and voice – a relationship between soundscape and human vocal expression was revealed.

Upon the kind invitation from the BEAST FEaST 2021 to create a new sound piece, I decided to use the opportunity to reflect back on my more than 40 years of sound recording and composing with environmental sound. I have brought together many of my recordings and compositional approaches in a fluid stream of listening while also softly speaking my mind about issues of soundscape ecology. The festival’s theme is “Recalibration”. The Soundscape Speaks is an invitation to open yourselves to the complexities of listening itself and the possibilities it may offer to recalibrating your own relationship to the environment.

Composition and Spoken Voice by Hildegard Westerkamp
Premiere: April 24, 2021, the BEAST FEaST 2021, at the University of Birmingham, UK  

Biography:
Hildegard Westerkamp (*1946 in Osnabrück, Germany) is a sound artist, sound researcher, composer of electroacoustic music, sound ecologist, flutist, pianist, and author. Her works, which have been performed worldwide, chiefly focus on aspects of the acoustic environment. Westerkamp moved to Canada in 1968, studied music at the University of British Columbia and joined the World Soundscape Project at Simon Fraser University to explore soundscapes under the direction of R. Murray Schafer. She later taught courses in acoustic communication at Simon Fraser University and has written extensively on soundscapes, acoustic ecology, and listening. She is a founding member of the World Forum for Acoustic Ecology and lives in Vancouver.

http://www.hildegardwesterkamp.ca

Ji Youn Kang - machi-nory

This performance unfolds as a live construction of an unstable sonic machine, built from circuits, metal plates, and electromagnetic feedback where sound emerges from shifting relationships between materials, performer, signal and space. Through acts of tinkering, the system reveals the hidden vitality of matter and its dynamic behaviours.

Ji Youn Kang is a Korean composer, performer, and sound artist based in The Hague. Much of her work is informed by the rites of Korean Shamanism, and many of her pieces are written for Wave Field Synthesis systems, exploring the relationship between musical and physical space. She is also active as a solo performer, exploring ways to combine three sound domains on stage: acoustic instruments, analogue and digital sound, using DIY analogue synthesizers and live processing on a laptop. She currently teaches at the Institute of Sonology at the Royal Conservatoire.

Link: https://jiyounkang.com
 
Firas Khnaisser - Endless Darkness

Endless Darkness is a thirty-minute live performance and broadcast about persistence: the way bodies, sounds and identities endure through fragmentation and metabolise to form something new while constantly faced with the possibility of erasure.

Firas Khnaisser is a Syrian/Lebanese performance artist and musician based in Edinburgh. His work is informed by themes of colonialism, pop culture, myth and ritual. His practice centres on performance and free improvisation using electro-acoustic instruments, found objects and found sounds. He hosts TFEH, an experimental concert series at the Fruitmarket in Edinburgh, alongside Ali Robertson and Collette Martin. Firas is a member of the bands Off Brand and Vole Invasion, and also sits on the board of the inclusive music charity Sonic Bothy. Current collaborators include Ali Robertson, Armin Sturm, Fritz Welch, Euan Currie, Nikki Moran and Paul Thomson. Has releases on Scatter Archive, Chocolate Monk, Artsy records, Giant Tank, Takuroku among others.

1 S. Glass - About That Tidal Wave Research Dream (12:28)        
2 Zak Colello - I Am Sitting in a [B325_Stereo_Downmix] (17:33)       

1) S. Glass - About That Tidal Wave Research Dream 

"About That Tidal Wave Research Dream" incorporates sound collage, electronic processing, voice, location recordings, amplified objects, mass media appropriations, and chance operations. The overall approach consistently hews to a four-track cassette aesthetic and composed tape music, where raw immediacy and surreal juxtaposition intersect. 

Public sound — available, inescapable — is a prime influence. Early on, childhood cartoons, call-in radio, and the pre-recorded self-destructing assignments on a well known TV spy show made their mark. Sound collaging flourished at a student radio station with access to multitrack tape. In addition to self-made urban field recordings and found audio sources, Glass adapts practices pioneered by past avant garde mavericks: Cage’s chance operations, private Fluxus-like procedures, machine sounds à la early Industrial culture, and quasi-outsider sounds absent formal training and/or intention.      

S. Glass founded Bren’t Lewiis Ensemble and Glands of External Secretion, and from 1986 to 2004, self-published Bananafish magazine. Since 2017, he’s toured the U.S., England, Scotland, Australia, New Zealand, Japan, and Canada. Collaborations include Dylan Nyoukis, Bruce Russell, Anla Courtis, Bryan Day, Andrew Zukerman, Cody Brant, Orchid Spangiafora, and others.

He’s released material on Butte County Free Music Society, l’Esprit de l’Escalier, Chocolate Monk, Siltbreeze, Minimum Table Stacks, Krim Kram, Steep Gloss, I Dischi Del Barone, Feeding Tube, Ultra Eczema, Nashazphone, and Starlight Furniture Co., among others.

He will appear at the Reception Festival in Ireland, October 2026  

https://www.facebook.com/charles.nielsen.5/
https://glandsofexternalsecretion.com
https://www.instagram.com/raoultinybear/
https://www.facebook.com/ButteCountyFreeMusicSociety/
https://brentlewiisensemble.com
https://www.facebook.com/profile.php?id=100063544994780

2) Zak Colello - I Am Sitting in a [B325_Stereo_Downmix]   

I Am Sitting in a [B325_Stereo_Downmix] is the stereo version of an immersive experience presented in January 2026. The piece is directly inspired by Alvin Lucier's I Am Sitting in a Room. The text is a pretext for exploiting the timbral characteristics of the room in which the experience was presented, and the narrative thread of the work. Acoustic resonances are exploited as sound material and mixed with synthesized sounds tuned to these same resonances. The text offers a reinterpretation of Lucier's work, positioning the resonances of the room as a crisis and the sound of the voice as efforts of resistance in the face of the crisis.
Zak's work lies between sound art, radio art, and acousmatic music. This piece is a variation on a series of works entitled I Am Sitting in a [ ], which is intended to be presented in several contexts, devices, and formats.     

Zak Colello (he/him) is a sound artist based in Montreal. He completed his bachelor's degree in digital music at the University of Montreal, then worked as lead audio in the Satosphere at the Société des Arts Technologiques.
He is currently pursuing a master's degree in composition and sound creation and works as a research assistant for the Groupe de Recherche en Immersion Spatiale (GRIS).
He composes works combining sound art, acousmatic music, and radio pieces, with a strong focus on ecology and unique narratives. Occasionally, he designs interactive installations, such as Chœur Factice (2024).     

https://zakcolello.com/
https://www.instagram.com/pasta_baleine/

1 Sapphire Goss - Spectres, Skin and Bone (20:00)    
2 Birdman 750 - Keep Listening To Your Radio (5:30)    
3 Ivor Kallin - Barra Soap Opera   R09_0160 (3:43)

1) Sapphire Goss - Spectres, Skin and Bone     

Since its inception cinema has been likened to a "kingdom of shadows"; time frozen, a netherworld between life, death and memory. ‘Spectres, Skin and Bone’ is an experimental documentary that uses the deathly materiality of photochemical objects to explore themes around mortality, memorial, extinction, extraction and decay. It encompasses post-mortem and spirit photography, Thai cemetery cinema, the gelatine of film emulsion as a charnel house of countless carcasses and the Arctic World Archive where digital data is backed up to 35mm film: a haunted tomb of contemporary knowledge. The soundtrack is sonified from film reels; a "Celluloid Synthesiser" using the end of the reels, the edge of the frames, scratches and dust. This is mixed with field recordings and optical archive, all dredged from the cracked terrain of the film surface, oscillating between the material realm and the ether.

I am a British artist working with moving image, photography, installation and sound. My work embodies an ‘analogue uncanny’ where light, time and materials come together in unexpected ways. These are unstable media for unstable landscapes and unstable realities. I treat film and tape not only as a recording device, but as both a material terrain and a skein between worlds: surface and image, memory and ghost, life and its traces. My work has been widely exhibited, including at the ArtScience Museum Singapore, the Barbican, Tate Exchange, By Art Matters Hangzhou, Fermynwoods Contemporary Art, and Millennium Film Workshop New York.     

http://www.sapphiregoss.com
http://www.instagram.com/sapphire_goss/

2) Birdman 750 - Keep Listening To Your Radio 

This piece started with the eerie sound of Sputnik 1, launched by the Soviet Union in 1957, an event which also launched the space race. It also gave birth to the fear of a nuclear missile attack.
Planning for the eventuality of an attack culminated in the British government's Protect and Survive programme. Originally, this was classified information, only to be distributed in the event of an impending attack.  But media pressure and leaks of text and audio material forced the government of the day to publish the pamphlet format, in 1980. 
Sampled from the material developed for television, we can hear that central to the plan was the concept of an authoritative male voice broadcasting simple instructions. 
So listen to your radio, stay where you are and keep listening to your radio.
     
Birdman 750 (seven-fifty) aka Hugh Manistre is a field recordist, and works combining this with his background in music, making pieces reflecting place, history and ecology. 
2008 Birdsong From The Stroud Valleys CD. 2016 Birdsong From Gloucestershire CD 
2018 - 2021 Radio pieces on BBC Radio 3 and BBC Radio Gloucester
2019-20 & 2026 Written/audio work on Bristol and Gloucester Museums websites
2022 Recording used in Pelagic Books Sound Identification of Terrestrial Mammals of Britain & Ireland
2023 Audio for Landscapes of The Lark festival 
Work in three previous Radiophrenia editions
Creator of the Stroud Sound Map, an ongoing project.     

https://soundcloud.com/user-11077807
https://stroudsoundmap.org/

3) Ivor Kallin - Barra Soap Opera   R09_0160 
 
The work consists of 18 pieces, ranging from ~2 to ~12mins, mainly recorded on beaches on the Isle of Barra, featuring improvised vocal sounds with the sea or path as soundscape. There are also a couple of tracks recorded in Edinburgh on a dampened piano.
 
I play improvised music using a viola with the London Improvisers Orchestra (and previously with Barrel), bass with the Glowering Figs (and previously with Ya Basta) and electric violina with Electrio. I've been presenting a radio show on Resonance FM on and off for 20 years or so, under the guise of Ambrosia Rasputin.
I have recently had a couple of releases on ScatterArchive, featuring improvised viola and voice and also some Barra beach and Edinburgh 'songs', not included in this submission for Radiophrenia     
 
The Ambrosia Rasputin Show by Resonance FM | Mixcloud
https://scatterarchive.bandcamp.com/album/in-barra-sing

Live session recorded in December last year in Bristol, telling a woeful tale of golf and extra-terrestrial cannibalism.    

Artist bio:  
Storyteller is a Spoken word and electro-acoustic collaboration between Bruce McClure a descendant of Australian bush poet Banjo Paterson, the lyricist behind Waltzing Matilda and sound artist Bjørn Hatleskog.  
    
Website/social links  http://www.storytellertapes.bandcamp.com

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

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

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