Sat 5

SPDM is a collaborative hard drive excavation, a free-associative remix of our recent media consumption. A high velocity conversation through film, music, field recording, social media detritus - anything that can be stored as an audio file.       Artist bio:   SPDM is an ongoing collaboration between domingo castillo flores and Jeremy Segal. Using free-associative sound collage as their primary method, SPDM explores sound, meaning, and circulation through radio, performance, and music production.   SPDM improvises live remixes of their recent media consumption once a month on 90mil Radio. In December 2025 they presented The Merve Tapes on Cashmere Radio, a six-hour broadcast and accompanying zine exploring a collection of cassettes housed at Diffrakt Centre for Theoretical Periphery.   SPDM has recently performed (under various monikers) at Bar Neun, Roter Salon, and 90mil. They are currently working on a studio album.

lusted fleeting is a 68-minute fixed-media immersive-audio piece in five parts (plus coda) with optional live on-stage speaker and lighting effects. Aesthetic promiscuity interrupted by digital discontinuities, degradations, spectral and acoustic shifts, pauses, nostalgic machine noises, and jump-cuts create a meta-narrative that breaks the suspension of disbelief and the basking in immersive sound. Many of lusted fleeting's rhythmically-focused sections were generated by algorithms extrapolated from one-dimensional cellular automata, in particular the so-called Wolfram Codes. Text is used on several levels, both in the foreground with clearly-audible spoken words and in the background as barely-audible, highly-processed hints of human presence.     

Artist bio:  
I'm a composer, improvisor, software developer, and since 2017 Professor of Electronic Composition at ICEM, Folkwang University of the Arts, Essen, Germany. I'm the programmer of the slippery chicken algorithmic composition package. My compositional interests lie mainly in the development of structures for hybrid electro-instrumental pieces through the integration of algorithmically produced scored materials with similarly generated computer-processed sound.      
 
https://michael-edwards.org
blog: https://michael-edwards.org/wp

BUS 59 is the first outcome of Take to the Road, a collaboration between artist Lorie Ballage and composer Mathias Loose. The 18-minute audio piece unfolds as a guided meditation set within a rainy urban landscape, drawing listeners into a sensory and emotional journey. Through layered narration, concrete sounds, ambient textures, and carefully composed musical cues, the work evokes states of frustration, impatience, disorientation, and quiet release. Its sonic choreography amplifies the physicality of rain, movement, and urban noise, transforming everyday disruptions into moments of heightened awareness. Centered on themes of surrender and acceptance, BUS 59 invites listeners to reflect on the rhythms that govern contemporary life. By embracing unexpected turns and relinquishing control, the piece creates a space for contemplation—where chaos and harmony coexist—and encourages a deeper understanding of the self within the wider emotional and societal landscape.    

Artist bio:  
Lorie Ballage (FR/NO) is a Bergen-based visual artist whose practice explores watery utopias, emotional tension, and the poetics of surrender. Working across ceramic installation, sound, and text, she creates immersive environments that invite introspection. She holds an MFA from the Art Academy in Bergen and exhibits widely across Europe.
Mathias Loose (DK) is a Copenhagen-based composer and sound artist blending electronic and analogue textures into emotionally rich sonic worlds. His work spans film, performance, and spatial sound installations. He holds a Master of Music in Film Composition from the Danish National Academy of Music and presents work internationally.    

Website/social links  Lorie Ballage:
https://lorieballage.com/
https://www.instagram.com/lorieballage/?hl=en

Composed in 2026, the piece recycles my own voice – recovered from an old poetic podcast about John Cage – subjecting it to electroacoustic processes that transform sound remnants into a landscape of silences, noises, and latent rhythms. The work explores the notions of surplus, discarding and the symbolic reuse of speech, converting vocal leftovers into new forms of listening and meaning. In a way, the result resembles a sound “frottage,” whose figures derive from the electronic manipulation of the harmonics present in my voice. The semantic aspect is relegated to a subliminal instance. In general, the piece is a kind of lo-fi ambient music, generated from fragments of a pre-recorded speech, with the Portuguese words rendered almost imperceptible. Despite the prevailing discreet and hypnotic atmosphere, the work contains a few contrasting and dramatic passages – brief noisy commutations. One might suspects a bored demiurge, fond of deviations.      

Artist bio:  
Roberto D'Ugo Junior is a brazilian artist-researcher dedicated to radio art. His work explores interfaces between magic, technique and art. Based on a poetic-documentary listening to everyday life, he develops an aesthetic investigation that dialogues with surrealism and musical minimalism. One of the main features of his work is the ritualistic repetition of speech residues and fragments of field recordings. He holds a PhD in Visual Arts from the Institute of Arts at São Paulo State University. He was production coordinator at Rádio Cultura FM in São Paulo. He teaches radio and sound media at the Faculdade Cásper Líbero.     
 
https://www.instagram.com/d_ugo_minimal_radio/
https://soundcloud.com/user-48062083-271779683

Sonic traces in a garden of longing is a one-hour, live-to-tape radio performance by Rundfunkorchestra, produced for a dedicated broadcast slot and recorded remotely as an ensemble.

A score shapes the hour with a clear temporal architecture while deliberately leaving space for improvisation and individual decisions. Migration is approached not as a story but as a shifting network of sonic relations in three movements—Language/Home, Borders/Deterritorialisation, Movement—punctuated by solo passages. The material draws from the orchestra’s own recordings and archives: voice and multilingual traces, fractured music, animal worlds, the human world, nature.

Refusing a single “red thread,” the work treats transmission itself as a compositional device: through the curtain of the radio wave, background becomes foreground, inviting attention to focus, drift, return, and drift again.

In this way, migration hints toward otherness—that which is around us, which we always want to grasp, yet can never fully hold.    

Artist bio:  
Rundfunkorchestra is a loose collective of sound artists based around Weimar, Dresden, Leipzig and Linz, working “radio-first” across broadcast, installation, and live performance. Created by students of the "Experimental Radio" professorship at Bauhaus University Weimar,  they not only focus on audio performances themselves. For example, they developed  radiophonic instruments and formats—such as the portable FM performance system Funkstern Plus—and have presented works with stations and festivals including Radio CORAX, Radio Helsinki, and Radio Elsewhere and also Radiophrenia.      

Website/social links  
https://rundfunkorchestra.org
https://konrad-behr.de/2023/11/13/funkstern-plus-gewinnt-saechsischen-staatspreis-fuer-design/
https://www.instagram.com/rundfunkorchestra?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==

– dedicated to Ali, Clare and Emma    An evocation of places and the means of reaching them. The musical ‘scenes’ (some almost reportage, others more fanciful) are artificially constructed but all have their roots in the real world. We move erratically between locations in Europe, Iceland, Australia, North America, North Africa and Asia, with the means of travel (trains, cars, planes, ships) lurking almost throughout. But the logic of the narrative (if there is one) does not lie in geographical connections or distances but in the ‘sonic’ journey: the relationships and contrasts – spectral, rhythmic and spatial – that I had enormous pleasure in discovering within my recorded material. My habit of always carrying sound recording equipment started in the early 1990s when I became interested in capturing everyday sonic events that somehow indicated their geographical location. One day, when I was recording a journey on the London Underground, a lost overseas visitor asked me directions – that incident gave me the idea for a piece based on the broad theme of travel, and the sense of disorientation, even alienation, it can engender. I have amassed quite a sound library over the past 25 years, but only started to investigate these materials methodically in 2014, with three related works: Hidden Vistas (a 20-channel gallery piece, premiered at the Ikon Gallery, Birmingham); Espaces cachés (a 30-channel concert work, commissioned by the Maison des arts sonores, Montpellier and premiered at the Klang! Electroacoustique Festival in Montpellier); and Secret Horizons (a 14-channel installation, composed for the RBSA Gallery, Birmingham as part of the Birmingham Sculpture Trail). My approach in these works was to present the material, but in a way that, given the geographical disparity of some of the concurrently sounding materials, would be impossible in ‘real life’ – we cannot, physically, be in two places at once, but it is entirely possible in the aural domain, especially if recognition and personal memory are evoked and involved. Large loudspeaker arrays, often in different rooms or parts of a space, aided the illusion I was trying to create. I felt, however, that I wanted to subject this material to a more ‘in-depth’ acousmatic investigation, so was delighted when Pierre Alexandre Tremblay, one of my former PhD students at Birmingham and now Professor of Music at Huddersfield, asked me to compose 60-minute multi-channel work when I retired – it was the perfect opportunity. A Leverhulme Emeritus Fellowship enabled me to make field recording trips to Australia and Iceland, and supported the development of multi-channel signal processing software; the National Lottery, via an Arts Council England Grants for the Arts award, supported the period of composition. Going / Places is not so much a piece as an ongoing project – what you will hear today is the story so far. I intend to carry on travelling, recording new materials that will undoubtedly demand and deserve to participate in future versions.   Going / Places – a ‘rough guide’ I thought it might be useful to offer some ‘signposts’ (this is a project about travel, after all!) – not to tell you what you should be hearing, but simply to enhance and complement your listening experience (and to give you something else to do if you get bored!). The musical moments or ‘scenes’ that you will hear (some clearly delineated, others overlapping) are all completely artificially constructed; some border on reportage or documentary, others are more fanciful – but they all have their origins in specific locations. Telling you what and where these locations might be does not, I hope, detract from the aural experience. We begin and end in Italy, my second home. Between these scenes – one implying imminent motion, the other more restful and tranquil – we flit erratically and unpredictably between other locations in Europe, Iceland, Australasia, North America, North Africa and parts of Asia, and the means of travel (trains, cars, planes, ships, etc) are lurking almost throughout. But the logic of the narrative (if there is one) does not lie in the geographical connections or distances but in the sonic journey: the relationships and contrasts – spectral, rhythmic and spatial – that I had enormous pleasure in discovering within this huge range of material. I hope you enjoy the ride.   I owe huge thanks to a large number of people and organisations for their contributions to this work and their assistance in its creation: Thanks to: The National Lottery/Arts Council England, The Leverhulme Foundation, Pierre Alexandre Tremblay and the Huddersfield Contemporary Music Festival, Joe Klingler, Elainie Lillios and Michael Thompson, Alex Harker and his students, James Carpenter, Chris Tarren, Lisa Whistlecroft and Steve Benner, David Hirst – and my wife, Alison Warne. Artist bio:  Jonty Harrison (1952) studied at the University of York, before working at the National Theatre and City University, London. In 1980 he joined the University of Birmingham, where he directed the Electroacoustic Music Studios and BEAST. He retired in 2014 and is now Emeritus Professor of Composition and Electroacoustic Music. Gastprofessur, TU, Berlin (2010); Leverhulme Emeritus Fellow (2014-15). Compositeur Associé, Maison des Arts Sonores/KLANG! Acousmonium, Montpellier, France (2014–). He has received many commissions and prizes internationally, and his work appears on four solo albums (empreintes DIGITALes, Montreal) and several compilations. https://electrocd.com/en/artiste/harrison_jo/Jonty_Harrison

Clouds is a sound fiction unfolding between sky and earth. Imaginary beings and animals guide our steps through a sky in motion. Each layer has its own distinct character: Cumulus, Stratus, and Cirrus invite us to navigate their unique densities, colors, and musicalities. The air—sometimes warm, sometimes cold—lifts us to shifting heights, revealing cloud-poems, clusters of droplets with floating phrasing.

Moods are like a changeable sky. No one lives under a perfectly uniform sky, nor one that is entirely grey or blue; it reminds us of impermanence.

And you—what color is your sky today?    

Artist bio:  
Anne Lepère is a sound artist, composer, and radio producer whose work explores the poetry of everyday life between urban and rural spaces. Trained in Brussels hubs such as ACSR and at Royaumont, she has been creating radiophonic pieces, music, and sound design for theatre, dance, performance, and film since 2013. A recipient of several awards, she authored Autopoïèse (2019) and Area (2022), innovative works blending documentary, poetry, and explorations of time. In 2025, she completes Nuages, a new long-form radiophonic piece produced by Babelfish, ACSR and Semi-Silent, combining the sonic score of clouds with collective writing.    

Website/social links  
http://www.annelepere.net/
https://soundcloud.com/anne-lepere
https://www.instagram.com/anne_lepere/

This piece is made with field recordings in one of the most incredible places I have ever visited and listen to. The province of Guizhou in southern China, in its beautiful rural villages, where various ancient dialects are spoken, such as KAM, which can be heard in the recordings. These are places that change your life because they remind you of the love for the land and the harmony between humans and nature.
In the recordings, you can hear the toads and frogs in the rice fields, the cicadas, all singing at tremendous volume in the vastness of those mountain valleys, the weavers at their beautiful traditional looms, villagers singing together, parties, laughter... For me, this is perhaps the most unique place I have ever been listening to and field recording.      

Artist bio:  
Julio César Palacio is an Venezuelan-born, Barcelona-based artist, researcher, educator, and composer. His sonic practice focuses on the study of acoustic phenomena, listening as a community practice, the relationship of sound in identity and collective memory, oral history, noise pollution and the impact of human beings on nature, the study of bio-acoustics and the analysis of sound DATA as a material for awareness and conservation of the environment and his soundscape, understood in the context of today's climate crisis and instability.    

Website/social links  
https://suncolor.info/
https://www.instagram.com/juliocesarpalacio/

 How to approach a new place? And what to take home from it? The rural area of Tescani in Romanian Moldavia is characterized by reverberating sounds waving between hills, farming, and plenty of dogs. Up the hill on the edge of the village lies a small museum in honor of the Romanian composer George Enescu. A mansion with its own little forest. But the grandeur of the past shows cracks. Humidity sneaks up the walls. Red, aristocratic patterned carpet hosts historic notes, furnitures, and instruments. Mice ate the hammer felt of the piano – the piano on which Enescu finished his opera Oedipe. Today it is untouchable. Packs of visitors come in coaches, have a quick look, bath in some mellow notes, and climb their vehicle again to take off. What is conserved along the way? The piece follows, questions, deconstructs, and reconstructs the process of conservation.    

Artist bio:  
La Pesch lives in Leipzig and works as sound and voice artist, author, director, and curator – mainly in the fields of radio, composition, installation, performance, and the walking arts. Her works show a strong sense for the specific characteristics of phenomena, people, and places. They oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere or emotional quality. She sets in scene encounters creating contact points creating contact points in dialogue.    

Website/social links  
https://www.textbote.de/en/
https://www.instagram.com/lalapesch/
https://www.facebook.com/textbote
https://lapesch.bandcamp.com/
https://soundcloud.com/la-pesch

De/Cierto is a sound essay investigating the construction of the "desert" as a political operation of emptying. The piece traces a genealogy of the void, linking the Argentine State's 1878 foundational genocide ("Conquest of the Desert") with contemporary logics of mineral extractivism.

The project is rooted in media archaeology: it employs "tuning stones" (quartz and lithium) based on galena radio principles to capture the radio frequency spectrum without external power sources. This technique enables a physical interaction with territorial vibration and the acoustics of the air. The work is structured as a live non-fiction sound piece, processing and remixing records from the National General Archive alongside field recordings and choral testimonies. De/Cierto functions as a sonic archaeology that intervenes in the frequencies of historically silenced territories, exploring the radio medium as a site of tension between the documentary archive and geological materiality.    

Artist bios:  
 
Maru Waldhüter is a sociologist and sound producer focused on documentary narratives and social research. She has produced non-fiction series for the Rosa Luxemburg Foundation and CELS, and was a producer at FM La Tribu for eight years. Her work explores the intersection of regional politics and sound memory.

MINGUS / IDOSÔIDOS is a sound artist and researcher specializing in field recordings and media archaeology. He co-directs REMEZCLATUCIUDAD and has documented oralities across Ibero-America for platforms like Radio 3 (Spain) and Radio Tsonami (Chile). His practice investigates the auditory perception of territories and the materiality of archives.    

Website/social links  
https://linktr.ee/maru.dobleu?utm_source=ig&utm_medium=social&utm_content=link_in_bio
https://linktr.ee/idosoidos?utm_source=ig&utm_medium=social&utm_content=link_in_bio

https://www.instagram.com/marudobleu/
https://www.instagram.com/mmmmiiiinnnngggguuuussss/

1 Abigail Ranic - Vocal Hymn (4:58)
2 Female Laptop Orchestra (FLO) - From this world to... (10:24)
3 La Pesch - Mouth without Words (5:27)  
4 Faruk Mehić - ePrelude Op. 18 No. 3 (3:18)
5 Medio Mutante - Williams Mix 23A (4:16)

1) Abigail Ranic - Vocal Hymn    

Inspired by a single chord, this track, "Vocal Hymn" is comprised of nearly 20 individual vocal tracks all sung and arranged by A Ranic. Vocal Hymn explores the discomfort of dissonance by using long meandering vocal melodies which twist and intertwine with each other, falling in and out of harmony.      

A Ranic is a queer artist working out of Detroit, Michigan. Their work explores themes of twinship, gender, and the strangeness of having a body. Ranic's work expands across many mediums, including but not limited to: performance art, drag, clowning, sound and video art, printmaking, fiber arts, and installation.  
   
https://www.instagram.com/nibacari/

2) Female Laptop Orchestra (FLO) - From this world to...    

This is a proposal for a fixed composition, scheduled to be mixed and sent to Radiophrenia on March 7th, 2026. This piece will revolve around one question: "We are sending a message to space. It is likely that we will be exctinct by the time aliens hear it. What do you want to say?"
Each of us will answer in our mother tongues, and these spoken words will be processed through an ethical AI tool to create our base track. Geographically distributed FLO performers will each use the opensource Hi Audio platform to record asynchronously additionnal musical tracks on top of the previous composition. This will allow us to explore ideas such as the state of our world, humanity's posture within our planet and the universe, our hopes for the future, our prides, our disappointments, our cultures and our values.    

The Female Laptop Orchestra, founded in 2014 by Nela Brown, is an international ensemble of professional musicians, visual artists, and researchers working at the intersection of music, technology, and distributed audiovisual performance. By bridging time zones, continents, political boundaries and languages, FLO explores telematic intercultural collaboration and raises awareness of the underrepresentation of women in the sound and music computing fields. Performers for this piece are: Nela Brown (HR), Léa Ikkache (FR), Alayna Hughes (US), Maria Mannone (IT), Magdalena Chudy (PL), Ariane Stolfi (BR), Sonia Wilkie (AU), Alayna Hughes (US), Silvia Binda Heiserova (SK), Maria Aguado (SP), Sonia Wilkie (AU).
    
https://femalelaptoporchestra.wordpress.com/performances/

3) La Pesch - Mouth without Words    

What are we listening to? A forest at night? A melting glacier? A choir of wordless mouths and bodies trying to express their relationship to the world and with one another. This is what remains when the world leaves us speechless with a strong desire to express.    

La Pesch, lives in Leipzig and works as sound and voice artist, author, director, and curator – mainly in the fields of radio, composition, installation, performance, and the walking arts. Her works show a strong sense for the specific characteristics of phenomena, people, and places. They oscillate between narrative and purely sound-based with strong fascination for the thin borderline between fiction and reality. Often she uses spoken word that transcends sentences and syntax and reaches a pure atmosphere. She sets in scene encounters creating contact points in dialogue.
     
https://www.textbote.de/en/
https://www.instagram.com/lalapesch/
https://www.facebook.com/textbote
https://lapesch.bandcamp.com/
https://soundcloud.com/la-pesch

4) Faruk Mehić - ePrelude Op. 18 No. 3    
 
ePrelude Op. 18 No. 3 (2025) is a composition in which the composer explores the creative possibilities of electronics and the electronic manipulation of sound. The piece was premiered at the Electronic Music Concert as part of the anniversary programme of the Student Cultural Centre, University of Banja Luka, and was subsequently featured in the Metapsychosis journal in the article Spectral Portraits in Transit by Michael Eisenberg.    
Faruk Mehić is a composer from Bosnia and Herzegovina. He completed his bachelor’s studies in composition under the mentorship of professor Tatjana Milošević Mijanović, DMA, at the Academy of Arts of the University of Banja Luka, where he is currently pursuing his master’s studies in composition. His works have been performed across Bosnia and Herzegovina, Montenegro, Serbia, Albania, Slovenia, Croatia, Italy, Denmark, and The United States of America. 
     
https://farukmehic.com/
 
5) Medio Mutante - Williams Mix 23A

In 2023 Medio Mutante became the first artist to realize a new version of John Cage's "Williams Mix" for magnetic tape using the original 1952 score. The score is 192 pages long, covers 8 channels of sound, more than 600 sound samples and required over 10,000 tape splices.

The finished piece is available as a boxed set of 8 records of the individual channels, or digitally in mixed and individual channel versions.

A detailed documentary video of the process is available on Medio Mutante's YouTube channel: youtu.be/h1G8EljAfPA
https://mediomutante.bandcamp.com/album/john-cage-williams-mix-23a    

A band.    
http://www.mediomutante.com
https://www.instagram.com/mediomutante.mp3

1 Yeudiel Infante Esquivel - GLOSOLAL-IA FM (11:00)
2 Edward Ruchalski - Radio Voices 3 (I'm Here and There) (7:24)
3 Susan Brewster - The Nature of Persistence and the Other Way Round (7:31)    
4 Owen Duff - Selections from The Meaning of Alexa (Ambient) 3 - Have you ever been to the ocean (3:09)

1) Yeudiel Infante Esquivel - GLOSOLAL-IA FM

GLOSOLAL-IA FM presents voices that no longer belong to any real language; they emerge from the failure of artificial intelligences attempting to restore messages beyond their capacity for interpretation. Conceived for broadcast, the work is a binaural radio art piece in the format of a radio magazine, premiered on Radio UNAM 96.1 FM (Mexico City) on 14 February 2026. It incorporates sound documentary segments exploring impossible insects, fictional advertisements for unimaginable products, non-conventional musical passages, and capsules that construct sonic coherence without semantic meaning.
It is, perhaps, a radio signal from an alternative reality; yet at the same time it is a metaphor for our own—of media that exclude and of silenced voices. This language is illegible to us even though it once articulated the reality we inhabit, much like marginalized voices the system does not know how to hear. What do the languages silenced by technology sound like?    

Yeudiel Infante is a Mexican composer and sound artist. His work has been presented at major venues and festivals in Mexico, United States, and Europe—including the Palacio de Bellas Artes, Festival Internacional Cervantino, the Kennedy Center, and the Théâtre Public de Montreuil—and has received recognition from institutions such as the Centro Mexicano para la Música y las Artes Sonoras and the Bienal Internacional de Radio. In 2024, he served as Coordinator of the 46 Foro Internacional de Música Nueva organized by the Instituto Nacional de Bellas Artes y Literatura.
    
https://www.instagram.com/yeudielinfante
https://x.com/yeudielinfante

2) Edward Ruchalski - Radio Voices 3 (I'm Here and There)
 
Radio Voices (3) was created specifically for Radiophrenia’s open call. The source material was recorded from a short-wave receiver via the Wide-band WebSDR site, University of Twente. The various beeps, noises and tones, and spoken words were processed by EQ, filters, and pitch shifting. Additional, sound sources include bells and percussion.
In my Radio Voices project, I hope to present an imaginary world of our world in a future that no longer includes human beings. However odd this may seem, in this future, human-made sounds from the past are still present, dominant and floating in the atmosphere.
This piece made from radio transmitted sounds is intended for radio broadcast.
     
Edward Ruchalski is a composer, sound artist and field recordist. His compositions have been performed at the Kennedy Center, Lincoln Center, Mass MoCA, Symphony Space on Broadway and elsewhere. In 2020, Ruchalski’s acousmatic work, “Refined Localities”, was selected for inclusion in the exhibition, Audiosphere, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. Ruchalski has been an artist in residence at Wave Farm in Acra, N.Y. During the residency he created a concept for a radio show with co-host Stephen Bradley called Bells, Bugs, Whispers & Plinks (WGXC 90.7 FM).
 
edwardruchalski.com
edwardruchalski.bandcamp.com
 
3) Susan Brewster - The Nature of Persistence and the Other Way Round  

Thinking about recent discoveries of fossilised human footprints, the idea of aeonic imprints, something lasting indefinitely, from fossils to DNA, sparked many images in creating this piece. Whether a footprint in the sand, or an unconscious memory, it is fascinating that an event might suddenly, or gradually, and unexpectedly reveal clearly what has been hidden for a long, long time.  An ambisonic composition, “ The Nature of Persistence and the Other Way Round” aspires to place the listener within an immersive sound environment that is familiar but alien at the same time.  Textures are created by digital manipulation of a variety of samples from acoustic instruments including flute, drums, cello and mouth harp.  As a scalable format, the piece could be configured and decoded to fit different surround speaker systems whereby the virtual sound sphere is adapted accordingly.    

Susan is from the USA living in London, UK. Her compositions encompass a spectrum of musical styles, traditions and concepts. Her electroacoustic work has been awarded and premiered at international festivals. As an invited guest composer at the London Gamelan Composers Forum, ‘Ears to Earth’ for Gamelan and electronics, was premiered at the School of Oriental and African Studies (SOAS), London. Compositions are experimental and abstract, suggesting stories or conundrums. Scores range from conventional notation to graphic designs prompting improvisation. Currently she focusses on creating compositions for ambisonic, or immersive environments, exploring themes of the human relationship to technology.
     
https://www.linkedin.com/in/susanbrewster
https://www.instagram.com/sus_an_brewster/

4) Owen Duff - Selections from The Meaning of Alexa (Ambient) 3 - Have you ever been to the ocean

These are selections from a long-form work I have just completed, derived from an improvised piano and vocal ‘duet’ with an Amazon smart speaker which I recorded and then processed with extreme time stretching, editing and sound design. I also included audio of what the smart speaker recorded during the duet from Amazon’s servers.

With this piece I wanted to evoke in sound the space between human expression, represented by my freely improvised playing and sung questions, and AI’s understanding of it. I also wanted to explore the blurring lines between humans and the technology we have invented, and to play with the dichotomy between our ideas of freedom and a digital capitalism which has promised to deliver that freedom, but has arguably removed our liberty to reject capitalism.

Owen Duff works across multiple artistic fields, from his work as a singer-songwriter with many albums and videos released over 20 years, to his work making music for screen such as the Queerty-nominated series Kissing Walls. As a sonic artist Owen was Highly Commended in the 'Composed with Sound' category at Sound of the Year Awards in 2023, created the sound art/poetry collaboration 'Ghost Dance' with poet Emily Berry, which was a featured premiere on BBC's Late Junction in 2024, and had work selected for an In The Dark listening event the same year.     
http://www.owenduff.co.uk
http://www.instagram.com/owenduffmusic
owenduff.bandcamp.com

Opdoppling recycling ritual in four parts Production: AV, 2023   I    Listening/Collecting II    Processing III    Recycling IV    Upgrade Percussionists in part IV: Burkhard Beins, Emilio Gordoa, Els Vandeweyer, Antje Vowinckel; soprano saxophone Antje Vowinckel Premier: 16. 12.2023, SWR 2 Pop shreds - without beginning, without ending - boom past from cars and Bluetooth boxes, hiss from mobile phone headphones, colonize public space. Global songs, composed somewhere, sometime, practiced, sung, mixed, mastered. Now dismembered, compressed and flattened; thrown in front of our ears. – Do they really blow by? Evaporate? Or do they drift again, somewhere in us, like plastic in the sea? Treatment I For the first part, I listened to music leftovers flying around, collected them and embedded them in a music I composed myself. These remnants are either already "naturally" filtered during the recording (because only the trebles penetrate from a headphone to the outside or only the bass from a passing car), or I filtered afterwards. The Doppler effect is also natural in many cases, because I have moved quickly past the sound source or the sound source has moved past me. (In summer on Tempelhofer Feld, you can easily find twenty private picnics, each with its own boom boxes, next to each other. I kept walking past it.) In some cases, I have increased the Doppler effect afterwards. Due to the filtering and the Doppler effect, most of the snippets are no longer recognizable. There are a few exceptions that can possibly still be assigned. But they are so short that it doesn't matter under copyright law. Location: Berlin Neukölln and Tempelhofer Feld Instrumental sounds: recorded various acoustic instruments themselves and digitally processed: vibraphone, harmonium, soprano saxophone. In addition, individual accordion tones, recorded by Anna-Katharina Schau; they only occur in edited form. Embedded in this layering are the pop music remnants. II The pop remnants end up in the sounds of the E-Werk Luckenwalde. Recording: August 2022. (https://www.kunststrom.com/jetzt-wechseln.html) This E-Werk sounds like a sound installation in itself. I changed these sounds only a little and put the pop remnants in and processed them further. III I transcribed the looped rhythms of the recorded pop remnants (see p. 4/5), replayed them with stones and sticks on wood, stone, metal barriers and branches in nature. They mix with free rhythms and instrumental sounds from the first part. IV For the fourth part, I went to a remote Lost Place with three performers. There we played the looped rhythms in different rooms with a boom box and then played them on the surfaces of the rooms with percussion mallets. Water pipes protruding from the walls, for example, sound like an untuned vibraphone, plus metal grilles, shards, objects lying around in rooms of different sizes and reverberations. The rhythms are first strictly imitated, then transition into improvisation. On another day I recorded soprano saxophone sounds myself in the Lost Place. At first, long-drawn notes with a slight downward movement like a very slow Doppler effect. Then several notes in quick succession, the frequencies of which all reverberate for a long time in the large room. In the arrangement, the short initial notes were cut off, so that only the polyphonic reverberation can be heard. The harmonizer effect that is created in this way is natural. Place: Lost Place in the north of Brandenburg. Biography: Antje Vowinckel is a Berlin based  composer, radio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as  Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at  concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin. For her compositions with sound bites she developed the methodes of Automatic Speaking and  Dialect-Karaoke.  Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece  Call me Yesterday was broadcast and presented in 18 countries. Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize (see below). https://antjevowinckel.de/en

"Wind is song
Of whom and of what?
Of the sword’s longing
to be the word.
I have died, I have died,
and blood gushed
in a broad torrent over armour.
I have awoken, changed, again
casting my warrior’s gaze over you."
 
Velimir Khelbnikov, 1918

Produced Musiques et Recherches, October 2025
 
Source of sound material: Field recording made in the Ukrainian trenches of Donbass in 2014, during the start of the Russian offensive.
 
Poem – ‘Wind is song’ by Russian poet Velimir Khelbnikov – 1918
Voice – Natalia Pschenitschnikova
 
In 2014, I had access to a very unsettling recording. It was made by a friend in the trenches of the Ukrainian army in the midst of the war by the Russian army in Donbass. Unfortunately, 15 years later, this war is still ongoing. This audio document, captured the clatter of voices and weapons of war operated by men we call soldiers. It touched me indirectly, without penetrating me, but rebounded off like a stone skimming across water. In the safe space of the studio, using these traces of violent reality, I wanted to construct similar sonic textures in time, for abruptly sweep them away with the pacifist poem “Wind is song” by the Russian poet Velimir Khlebnikov, in which a dead soldier wakes up and gazes at us. It was written in 1918, on the eve of the turmoil and bloodshed that followed the revolution. Khlebnikov dreamed ‘of the sword’s longing to be the word’.

Voyce Walkr by Machine Listening is a reimagining of Russel Hoban’s post-apocalyptic 1980 novel Riddley Walker, updated, reworked, and distilled in response to our technological present. The work recasts Hoban’s nuclear devastation as a collapse brought on by carbon capitalism and techno-solutionism. The environment is ravaged, language has warped and degraded, and computing and other advanced technologies have vanished. Society is now organised around a myth about the causes of the collapse – The User Story – broadcast daily over a rudimentary radio network made from salvaged parts. This is the ‘voyce walking’ of the work’s title. The piece evokes radio’s various golden age(s) at the same time as the story imagines radio as a crude post-apocalyptic medium, far in the future. Time has been deliberately scrambled. Cloned children tell of coming ‘infomayshun barms’ on vintage radios. Old stories of dystopian futures tuned in to the anxieties of the present.      

Artist bio:  
Machine Listening is a platform for collaborative research and artistic experimentation, founded in 2020 by Sean Dockray, James Parker, and Joel Stern in order to subject automated systems to political and aesthetic scrutiny. The collective works across writing, installation, performance, music, software, curation, pedagogy, and radio. Our work has been presented at major institutions including the Australian Centre for Contemporary Art, Cricoteka Tadeusz Kantor Museum (Kraków), Warsaw Museum of Modern Art, Galerie Nord (Berlin), the National Communication Museum, RMIT Design Hub, and MUMA. And we have performed at Unsound Festival, Soft Centre, and Melbourne Recital Centre, among others.   
    
https://machinelistening.exposed/

Hums are never just about songs. They are always more about stories, memories, feelings of you and me.

When we asked displaced Syrian families to share with us their hums of songs and tunes about food and meals, their hums were more than about food. They were for people with whom they shared meals.

These are hums for homesickness, love, working in the field, trading, raising chicken, preparing meals, having coffee, religious devotion, love for the nation and their people, nostalgia and commemoration, and their particular challenges during the early months of the COVID-19 pandemic.

These are beautiful and heart-warming hums, and they deserve our listening.
 
As a part of GCRF-funded project called Syrian Food Futures, Syrian Humming Project is a sound art project that aims to tap into the personal and collective memories on food and daily life of displaced Syrian people through humming.
 
Syrian Humming Project continues to evolve since its pilot project which ran between 2019-2020. For the pilot project, we asked Syrian families displaced in various countries, including Turkey, Germany, France, and Scotland to send their hums and songs online. You can listen to snippets of these hums from Syrian Humming.

Following these hums, Suk-Jun Kim created ten short humming pieces based on some of them. These short humming pieces also uses images and quotes from From the Field, another sister project on Food Security in Syria and the Impact of COVID-19 on displaced Syrian communities.
 
 
Biography:
Suk-JunKim is a South Korean composer, sound artist and researcher/professor at theUniversity of Aberdeen, Scotland, UK. He has published two books, Humming (TheStudy of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. Hisresearch focuses on sound studies, immersive sound, phenomenological approachesto listening, electroacoustic music, space and place. Having been awarded firstprizes in international electronic compositions, Kim was a resident composer atArtists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at theUniversity of Aberdeen (2010). In 2023, he initiated a large-scale soundstudies and sound art project Futures ofListening by collaborating with the National Asian Culture Center (ACC) inSouth Korea and has led its Sound Lab Team. Between 2023-24, He was thePrincipal Investigator for Futures ofListening: Water Knowledge from Two Cities, an ISPF ODA challenge-orientedresearch project funded by the British Academy between 2024-2026.

 http://reddoorsound.com/

Forest is a sound work by Piotr Pawlak, created in response to the humanitarian crisis on the Polish–Belarusian border. Forest is a work that, in the context of the ongoing debate on migration and hospitality, serves as a document of the dramatic events experienced by specific individuals. Forest premiered during a performance (live act) at Gate No. 2 of the Gdańsk Shipyard. An updated audio version was later produced and broadcast on Radio Kapitał during the Christmas Eve dinner on 24 December 2021.
Forest won the Grand Prize at the Audionomia Award festival in 2022. The work was presented at the exhibition Kroki / Steps at BWA Wrocław in 2024, and broadcast on German radio Deutschlandradio in the Kurzstrecke program.
In 2025, the work was acquired for the Gdańsk Collection of Contemporary Art.  

Artist bio:  
An artist associated with the Tricity music scene. He creates music for theatre, film, ballet, exhibitions, and multimedia performances. He co-founded the bands Kury, Łoskot, Kaszebe, YeShe, and Bielizna. He has participated in projects such as John Zorn – Cobra He has produced several dozen albums by various artists. Winner of the Grand Prix Audionomia Award 2022 for the work Forest, which was included in the Gdańsk Collection of Contemporary Art.  Composer of the music for the performance Wymurzanie wolności (Bricking Up Freedom), created to mark the 40th anniversary of the August Agreements in Gdańsk.      

Website/social links   
https://www.facebook.com/profile.php?id=100011343023703

1) Kassel Jaeger aka François J. Bonnet - Shifted in Dreams (4:26)
2) Suk-Jun Kim - Thin Lines (10:55) : 6. Thin Lines (2018)
 
1) Kassel Jaeger aka François J. Bonnet - Shifted in Dreams
 
From the album 'Shifted in Dreams'
 
2) Suk-Jun Kim - Thin Lines: 6. Thin Lines (2018)
 
Thin Lines, commissioned by and premiered at the First Jeju Contemporary Music Festival in 2018, is an ambisonic piece that explores the persistent patterns of hums and strange spaces that they create.

Biog
Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.

Composition with international call centre voices.

Being stuck on hold, waiting to eventually speak with a representative, is an experience everyone knows—yet no one shares. You press your ear against the receiver and keep your mouth shut so as not to miss that crucial moment. We all hear and say the exact same things—much like at a concert, yet in total isolation. It’s time, to give it a public space. Antje Vowinckel has listened to many recorded messages before she was finally connected.

The research for the project was kindly supported by Musikfonds, Germany. A Radiophrenia commission produced with the support of Creative Scotland.

Vocal sounds: Antje Vowinckel, wind ensemble: “trigger” (Chris Heenan (ccl), Matthias Müller (tb), Nils Ostendorf (tp).
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:
Antje Vowinckel is a Berlin based  composer, radio artist and musician. Her works can be heard on radio stations such as Deutschlandfunk, SWR, WDR, HR, BR; at festivals such as  Donaueschinger Musiktage, Ruhtrienale, Eclat-Festival Stuttgart or at  concert venues such as ZKM Karlsruhe, Issue-Project Room New York, Sophiensäle Berlin.

For her compositions with sound bites she developed the methodes of Automatic Speaking and  Dialect-Karaoke.  Furthermore, she creates installations and performances in public spaces, which are aimed at a random and wider audience. The main focus of her work is in Germany, but her pieces are also presented internationally, e.g. her piece  Call me Yesterday was broadcast and presented in 18 countries.

Broadcasts, performances and competition participations in: France, Switzerland,Austria, Italy, Croatia, Spain, Sweden, Finland, Estonia, Czech Republic, Poland, Bulgaria, Portugal, USA, Canada, Australia. In addition, she occasionally works as a juror (Berlin Senate, HBK Braunschweig, inm-Berlin), curator, essayist and lecturer, among others at UDK Berlin, HFG Karlsruhe. She has received numerous international awards for her work, including the Prix Europa and the Karl Sczuka Prize.

https://antjevowinckel.de/en

Episode 22 of the TIMEZONES podcast series, initiated and produced by Norient, comes from Tehran and is an introspection on where an artist or artistic journey finds its existence – where it starts and ends, how it emerges, unfolds, or even falls into silence. Produced by the Khamoosh collective and participatory research project, this episode features artists of diverse communities who reflect on their ways of living and on their practice.
Tehran is at the crossroads for the stories told in this episode – whether as a place to return to or escape from. Members of Khamoosh reflect on the question: Who is an artist? They do so through letters, conversations, interviews, and by holding space for one another. Sonic elements emerge from a collective effort, drawing from the group’s rich sonic archive.
    
Artist bio:  
Khamoosh is a participatory artistic research project that mediates conservation and restoration by exploring the sonic heritage of Iran through recorded sounds of everyday life; sounds less heard or even silenced. Their methodology is guided by an ongoing process of learning by doing, community-based participation, collective artistic practice, and research as a network. They come together in the shared intimacy of sound through the tools of technology and time. Hearing the relationship between sound and language is an ongoing process formed by both well-known and unknown contributors as well as by non-humans, broadening the listening sphere of their extended collective.    

Website/social links  
https://norient.com/index.php/khamoosh/tehran-gateway-wandering-beyond?special=275
https://norient.com/
https://www.instagram.com/norientsounds/
https://www.instagram.com/khamoosh_sonic_heritage/

1 Duncan MacLeod - The Metalization of a Dream (8:53)
2 Tianjun Li - Breathe, and you are home (4:34)  
3 Sabrina Berenice Llorens - Quizás estoy dentro de un trueno (17:20)  

1) Duncan MacLeod - The Metalization of a Dream

The Metalization of a Dream is an open form sound-work responding to the dada and surrealist-inspired collages of Eduardo Paolozzi. A pioneer of pop art, Paolozzi’s practice drew inspiration from artists that utilise similar collage and cut-up techniques such as Charles Ives and William S. Burroughs. As such, these relationships are explored within this work through John Cage’s concept of the coexistence of dissimilars, where the notion of harmoniously blended elements is eschewed in favour of collage-like juxtapositions ‘that fuse in the ear of the listener’. Like Paolozzi’s collages, this work incorporates ‘found objects’ in this case John Taverner’s In Nomine and the writings of Gertrude Stein that are reimagined, juxtaposed and intertwined with composed and indeterminate materials alongside soundscape recordings to form an equivocal sound world. Commissioned and performed by Galvanise Ensemble, with funds from Arts Council England, PRS Foundation and RVW Trust.    

Duncan MacLeod is an award-winning composer, sound artist, and Professor of Sonic Arts at Glasgow School of Art. He works across concert music, sound installations, stage and participatory arts. Informed by folklore, sociopolitical issues and a deep connection to place, his practice explores human relationships with land and ecosystems in the Anthropocene. He creates works that amplify connections between culture, communities and landscape through creative sound practices. His works have been commissioned, performed and broadcast internationally, creating spaces where listeners can encounter and reflect on place, identity, heritage and the environment, and prompting more attentive, responsive ways of listening.    

https://duncanmacleod.org/
https://soundcloud.com/duncan-macleod
https://www.instagram.com/
https://galvanizeensemble.co.uk/

2) Tianjun Li - Breathe, and you are home

The work is a 2-channel stereo sound work shaped by an exchange of breath between the artist and their mother, recorded separately in China and Finland. T
Breathing forms the core structure of the piece. Each inhale and exhale turns into wind, carrying hesitation, distance, and care across borders.

The work reflects the migrant experience during a complex and layered period, marked by separation, illness, restricted mobility, and ecological loss.
Within this intimate pulse are field recordings from the artist’s deforested hometown, ambient sound from a Finnish Immigration Service Point, and birdsong gathered in both countries.

Broadcast through FM and online transmission, listening becomes a dispersed but shared act, as air, voice, and signal travel together through space, forming a temporary home in sound.    

Tianjun Li (CN/FI), also known as Timjune, is a Finland-based visual artist and experimental vocalist working across photography, video, sound, voice, performance, and community-based practices. Li works with synesthesia and an exceptional four-octave vocal range to create imaginative sonic-visual landscapes where more-than-human beings emerge as metaphors for socio-ecological realities. Li holds a master’s degree in Visual Cultures, Curating, and Contemporary Art, with a minor in Sound in New Media, from Aalto University.      

https://timjune.com/
https://timjune.com/breathe,-and-you-are-home-(2026)
https://www.instagram.com/timjunelee

3) Sabrina Berenice Llorens - Quizás estoy dentro de un trueno
 
 “Quizás estoy dentro de un trueno” (Perhaps I am inside a thunder) is an expanded reflection on listening and inhabiting different environments and atmospheres. The piece unfolds as an exercise in adaptation and transformation, where modes of listening to diverse sonic ecosystems turn the landscape into a new territory emotional and political. Drawing from field recordings made across different landscapes in Córdoba and Berlin, the sounds erode and collapse through loops and delays, exploring shifts and relationships between human and natural phenomena. A living territory, an identity in transit within a thunder.

Berenice Llorens is a composer, guitarist, DJ, improviser, and experimental artist.
Her practice and artistic research are rooted in the collection and reinterpretation of sounds from nature, the city, and machines, exploring relationships between humans, technologies, and their environments. She works with loops, delays, field recordings, guitar, and synthesis, developing compositions, performances, and improvisations. Llorens music moves through electroacoustic textures, psychedelic explorations of chamber prog and post-rock ideas, and the pulsating energy of techno.
She also collaborates with audiovisual artists, writers, and dancers, and produces radio shows and radio works.

1 Jakub Malinowski - Growing into particularity (14:49) 
2 Scarlett Quinn - Red World (13:31)
3 Water Feature - Various Birds - inferior merlin (1:11)

1) Jakub Malinowski - Growing into particularity  

Elian and Tycjana are both from Roma origin, currently living in Grochów district of Warszawa, Poland. They describe their life in the district - growing up, working, the Roma and the broader communities. They are both at the cusp of growing into adulthood and trying to find their respective places in the world. Both of them speak fondly of local parks, gatherings and the amount of resources available. However, as they speak about the people in their current lives it seems that the idyllic picture of a tight community, as they remember it from the childhood, gives way to a bleaker one - where there's every person for themselves.

The work makes use of field recordings captured around Grochów and prepared sounds to illustrate the narrative. Original interviews were conducted by Dom Sztuki in Grochów.    

Mechatronics engineer who works daily with car audio systems. His passion is everything related to sound. He engages in music production, creating sound installations, instruments, and performing concerts. He combines a technical approach with creativity, and for him, the audiosphere is more than just a carrier of information—it's a way to transcend barriers between people, non-humans, and phenomena.    

https://linktr.ee/ossitika
https://www.instagram.com/big_chart

2) Scarlett Quinn - Red World
 
Red World is an electroacoustic/field recording/ambient composition.
Using short wave radio recordings and field recordings, Red World is an attempt to capture granular elements of humanity. It invites the listener to engage with the sound; deconstruct its layers, find nostalgia, something familiar, something distant, listen quietly.
    
Scarlett Quinn is a composer and sound designer whose practice centres on sound art, electroacoustic music, and interactive media systems. Inspired by artists such as Pauline Oliveros, Julius Eastman, and Cornelius Cardew, her compositions interrogate ideas of labour, gendered sound, and embodied listening. She is currently finishing her studies in Music at the University of Manchester, as well as working as a sound designer in game audio.      
 
http://www.scarlettquinn.com
@badlyscanned
 
3) Water Feature - Various Birds - inferior merlin

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/

In the radio piece Areal, Nika Son and Pose Dia explore the shopping mall as a heterotopia in which consumption, leisure, and illusion intertwine. Beneath the shiny surface of this seemingly self-contained system, acoustic fractures emerge, revealing hidden non-places and transforming the labyrinth of consumption into an unsettling, surreal sonic play.
The hybrid premiere of Areal was performed live in Ulm in November 2025 and broadcasted on Radio free FM as part of the programme entartet. The work was commissioned by RR Reihe Radiostücke.    

Artist bios:
  
Nika Son is an experimental musician, artist, film composer, curator and dj based in Hamburg and Athens. Weaving oneiric musique concrète with analog and digital synthesis, broken rhythms, voices and modulated tape, her work captures the fluid, ever-shifting nature of the night, making the familiar strange and the surreal strangely familiar.
 
The peculiarity of the sound worlds of Pose Dia arise from the figurative approach of Hamburg-based musician, Dj and videoartist Helena Ratka. Sounds, noises, words and voices become as much an instrument as the visual staging. Together with Sophia Kennedy she is the duo Shari Vari moving fluidly between experimental pop and club music.
 
Nika Son:
http://www.nikason.de
https://soundcloud.com/nikacis
https://www.instagram.com/nika__son/

Pose Dia
http://www.helenaratka.com
https://soundcloud.com/ratkat
https://www.instagram.com/pose_dia

Kampfumo is the sonic embodiment of movement, resistance, and memory. Conceived during Nandele Maguni’s residency at ZHdK–ICST Spatial Studio in Zurich, the album unfolds as a deep experimental journey through the layered soundscapes of Maputo. Drawing from the city’s restless energy — its engines, voices, and rhythms — Kampfumo transforms the everyday pulse of the chapa 100 into a living metaphor for collective experience.

Blending distorted electronics, field recordings, and ancestral echoes, the album navigates the space between ritual and machine, chaos and rhythm, noise and silence. Each track functions like a transport line through Maputo’s invisible geographies, carrying fragments of memory, resistance, and spiritual vibration.

Kampfumo is not just an album — it’s an auditory passage where the mechanical becomes mystical, and the city breathes through sound.  

https://alreadydeadtapes.bandcamp.com/album/kampfumo
 
Artist bio: 
Mozambican experimental producer, sound artist & live performer
Nandele Maguni (also credited as Nandele) is a Mozambican artist whose work bridges analog electronics, field-recorded soundscapes, ambient structures, and sonic ritual. Based in Maputo, with international residencies in Zurich,Rotterdam and South Africa, his creative language foregrounds texture, improvisation, and a deep-rooted Afro futurist sensibility.

He was featured in DJ Mag’s “Eight Emerging Artists You Need to Hear – August 2024”, praised for his fearless hybrid of industrial, ambient and ritualistic techno rooted in Southern African sonic memory.
 
https://www.instagram.com/nandelemaguni_

https://www.facebook.com/nandelemaguni

https://oroko.live/artists/nandele

https://tresorberlin.com/artist/nandele/

1 Nayaka Farrell & Muhammad Welderahmat - Tekstil (5:52)  
2 Gianluca Pompilio – Heliocline (5:51)    
3 Alfredo Cerrito - S.T.U.P.M. (7:55)         
4 Junchang Zhang - Stormy Plateau (5:38)
5 Chris Byrne - Red flag, White flag, Black flag (4:11)    
6 j/jenn/jennifer – Here (2:48)

1) Nayaka Farrell & Muhammad Welderahmat - Tekstil 
 
This piece is a collaborative fixed-media (stereo) sound work by 2 composers. It is made entirely from everyday sounds recorded in our own surroundings—things we usually hear without paying much attention to. Coming from different regions and backgrounds, we each have different habits of listening and different ways of working with sound. These differences naturally shape how we choose, treat, and arrange the material.Rather than trying to tell a clear story, we use everyday sounds as raw material. Through manipulation and arrangement, familiar noises are taken out of their original context and placed alongside each other, allowing new relationships to form. The work focuses on texture, timbre, and timing/momentum, and avoids traditional musical structures like melody or narrative development. By bringing sounds from different environments into one fixed composition, the piece reflects our shared process of listening together.      

Muhammad Welderahmat (b. 2002, Palu) is a composer, live coder, songwriter, and improviser working across experimental music, ambient, soundscape, and free improvisation. His practice centers on environmental sound and critical engagement with social and cultural contexts. He has released Phenomenon (2023), Senyap (2025), and Menuju Beranda (2025), and is a member of Paguyuban Algorave Indonesia. 

Nayaka Farrell Adinata (b. 2005, Denpasar) is a composer that explores sound experimentation and critical reflection of the relationship between familiar and unfamiliar, foreign and personal. He is currently serve as a composer in residence at the Orkes Komunitas Concordia     

instagram
@naydinata ( Nayaka Farrell)
@welderahmat._ ( Welderahmat)

2) Gianluca Pompilio – Heliocline     

Heliocline is a space of transition: between surface and depth, between light and darkness, between what emerges and what dissolves. The title is inspired by the concepts of thermocline and photocline, zones in which sudden changes in temperature or light occur within oceanic layers. In a similar way, Heliocline metaphorically explores the stratification of sound in the depths, where frequencies penetrate only so far before silence slowly takes over. In this threshold, sound behaves like light: it refracts, it fades, it transforms     

Gianluca Pompilio is an Italian composer and sound artist. His work spans a wide range of fields, including electroacoustic composition, live electronics, experimental electronics, and sound installations. His electroacoustic works have been selected for and performed at prestigious festivals, including Ars Electronica, Ma/In, Leam, Somarumor, and Tempo Reale, and have been presented in Austria, Poland, Italy, Brazil, and Mexico. In 2025, he won 2nd prize from the Polish Society for Electroacoustic Music (PSeME) Gianluca holds a BA and MA degree in Electronic Music from the San Pietro a Majella Conservatory of Naples      

http://www.gianlucapompilio.com

3) Alfredo Cerrito - S.T.U.P.M. 
  
The idea of S.T.U.P.M stems from a single generating idea, the one that “Nothing is created, nothing is destroyed but everything is transformed”. Each audio material (entirely sampled by the artist) in this piece has the same characteristics both in the Micro and in the Macro - structure. The materials of common matrix presented in the first part, initially spaced apart, proceed towards the central part with a greater and greater frequency of appearance until they become spasmodic (all this happening through a game of panning and spatialization of sounds). At the same time, there is an additional textural plane that helps to create tension through an ever-increasing addition of frequencies that add up and through the use of contrary motions. A more extended central area gives a new light to the generating material by decanting the latter. Everything seems to stop apparently, the materials are far away in the     

Alfredo Cerrito is an Italian saxophonist, composer and conductor working across contemporary and electroacoustic music. As co-founder of Duo “8 e 15”, he has performed internationally, including the reopening of the National Theatre of Baghdad. His electroacoustic works have been presented at Audioblast (France), Seoul International Computer Music Festival and InSonora (Barcelona), and broadcast by ResonanceFM (London) and CJSW (Canada). In 2023 he was invited to perform at Tempo Reale’s TRK Glitch Club (Florence) and his piece Remembrance of the Present was published by the US contemporary art journal Superpresent. He also collaborated as arranger and conductor on StraMorgan (Rai)     

4) Junchang Zhang - Stormy Plateau 
 
Junchang Zhang  is a sound artist from China and currently base in New Zealand. This sound work talks about a kind of intimate feeling beyond language. 


 
5) Chris Byrne - Red flag, White flag, Black flag   

A found recording of a flag flapping in a breeze was duplicated thrice and treated in three ways:
- Pitch shifted up
- Pitch shifted down
- White noise and distortion added

The three altered recordings were edited as three tracks in an audio editor. Two were panned left and right respectively, the third remained centred. Crossfades were used to slowly pan from one recording to the other. This creates the effect of the sound moving across the stereo audio space.     

I have engaged with media and digital practices for some forty years. First as an artist, then as exhibition organiser, curator, producer. Trained as a sculptor, I used computers and video as part of my practice from the outset. During the 1990s and early 2000s I shifted from mostly film and video to digital, interactive and internet artworks. I’ve always found affinity with more marginal practices. Media art is the principle area, but other forms such as performance, mail art, and artists’ publications have been influential. Most of my work as an organiser, curator, producer was in these fields.     

http://www.crowriver.net
https://linktr.ee/crowriver

6) j/jenn/jennifer – Here  
     
I lost my father, Anthony Dawes Howd on October 13, 2021. This is the first track from my EP, “ADH” an experimental music/sound art documentation of my last moments with my father before he passed away and my mourning process over the subsequent two years following. Field samples recorded at Catholic Medical Center in Manchester, NH. The image is a piece of digital art I made featuring my father.      

j/jenn/jennifer (they/them) is a multi-disciplinary artist working at the nexus of experimental art, storytelling, activism, and healing. Identifying as a cultural subversive, they use art to question dominant narratives and invite deeper connection with self, community, and the greater web of life. Their work has been presented and published domestically and internationally on the radio, in books, art galleries, community organizations, sculpture parks, on stage, and in film theatres. 

https://jenniferhowd.com
https://www.instagram.com/jennhowd
https://jennhowd.bandcamp.com

7 David Upton - Requiem for London Diesel (4:35)    
8 Alfredo Travieso – Neck (2:35)    
9 mohammadreza - Tumult (9:05)
10 Prabuddha Mukhopadhyay - Sounds from my window (4:16)    
11 Chiara De Roberto - Elaborazione di un conflitto (6:05)  

7) David Upton - Requiem for London Diesel

The  'keynote sounds' for London are closely related to diesel engines, specifically buses and taxis in the centre of the city:
But, around 2023/ 2024, it became clear that this was changing. New technologies, made an increaing number of buses and taxis almost silent. What had once just been a vision was rapidly starting to affect the sounds of the city.
I recorded diesel sounds around Waterloo and at bus stations in Waterloo and Richmond. I distorted else using a variery of techniques. I used "Microsounds" to suggest the way that memories decay. I played with frequencies. I also added some other London sounds: the chimes of 'Big Ben', sirens, and traffic noises.
I turned my sounds into a short composition. The three 'movements' are:
London Diesel as it was.
A dying Diesel engine remembers its days of glory.
Finally, switched off for the last time, and gone to silence.    

David Upton is interested in subtle differences, in conceptual art, and in discovering unseen patterns and inter-relationships. He embraces the digital world because it offers him such a range of new opportunities.    

http://www.codedwalls.com
@codedwalls

8) Alfredo Travieso – Neck  
 
Neck is an audio experiment that uses textures, the body, language and electronics to mimic sounds of the imaginary.    
 
Born July 1, 1973 in Bogota, Colombia. Alfredo was trained in film and arts. His studies include a Bachelor's degree in Communication Arts from Marymount Manhattan College, film directing and production at Parsons New School University, and numerous production collaborations with New York University's (NYU) TISCH School of the Arts film program. He currently resides and works out of the city of Miami, Florida. He has obtained his MFA at the School of Visual Arts: Art Practice program in New York city, where has exhibited work. In Miami, Alfredo has curated shows and runs @trashroom_gallery, he has also shown work.    
https://www.instagram.com/zeligbot/?hl=en

9) mohammadreza - Tumult
   
This sonic narrative is an exploration of the fragile threshold between the silence of nature and the inevitable clamor of civilization. Moving from the whispers of wind and birdsong into the melodic pulses and rhythmic heartbeats of the awakening city, the piece seeks to carve out a 'sonic sanctuary' amidst the overwhelming echoes of modern life.
In an era shadowed by news of conflict and collapse, this work consciously steers away from depicting devastation. Instead, it weaves the innocence of children's laughter into a tapestry of solace, offering a refuge from the harsh frequencies of the everyday. It is not an echo of destruction, but a healing balm and an invitation to find inner peace and a reconnection with life's primal harmony in the very heart of a broken world.    

Mohammadreza Heshmat (b. 1997) is an independent artist and composer based in Tehran. I have developed my practice outside of traditional academic environments through private workshops and self-taught exploration. My professional focus lies in electronic music and field recordings. As a Santur player, my work involves integrating the techniques of this traditional Persian instrument with modern sonic textures and electronic processing.    

https://www.instagram.com/_mohammadreza.heshmat?igsh=MWs1cTJkN3B1emZsag%3D%3D&utm_source=qr
https://m.youtube.com/@mohammadreza.heshmat

10) Prabuddha Mukhopadhyay - Sounds from my window
 
This work deals with the sounds that I have encountered in my life almost every day. All of these elements represent a time of day. Every element has its own story, from the Aazan in the morning to the kids in the evening; everything has a personal memory associated with it. However, these recordings are around 3-5 years old. The soundscape has changed; the green field that was there is now being massacred for a building to rise. The children are thus absent. This work represents a time when I also had the ‘luxury’ of sitting idle and recording and listening to what was happening from my window.    
 
I am currently a student in the Sound Recording and Design program at the Satyajit Ray Film and Television Institute in Kolkata, India. Apart from film sound, my interests also lie in sound art and field recording, as well as how to shape them within the context of new media.
Spatial audio, Binaural recordings, extended listening through unconventional microphones, and Ambisonics, all these are my other areas of sound interests.
 
https://www.instagram.com/prabuddha._.m/

11) Chiara De Roberto - Elaborazione di un conflitto          
 
The piece originates from the artist's troubled private and musical life experience, deeply marked by an inner division that reveals a perpetual state of disorientation and restlessness, precariously balanced between two worlds, two paths, two lives.
The study opens with an obbligato on the sound of a metronome, which like a funeral knell accompanies the listener deeper and deeper into the tunnel of their own self. There, they will encounter their ghosts and fears, that will creep into the soul through projections and fantasies and will whisper subtly sharp words that create wounds difficult to heal.
The piece does not suggest a way out; there is no courageous leap, no deep dejection. The worlds draw closer, attempt to unite, but it all resolves into just a heterogeneous mixture, in which the artist, lost, takes hesitant steps, dictated by an illusory equilibrium.
 
Chiara De Roberto, Italy, pianist, electronic musician and sound designer. Born in Palermo in 1999, she began studying piano at the age of 9 at the "A. Scarlatti" Conservatory in Palermo. After completing her piano studies, she developed a passion for electronic music, beginning to compose as a self-taught musician.
In 2021, she enrolled in the three-year electronic music course at the "A. Scarlatti" Conservatory in Palermo. Under the tutelage of Maestro Giuseppe Rapisarda, she graduated in 2025 and is currently in her second year of the two-year postgraduate program. Her compositions have been performed in several contemporary music festivals.    
 
https://www.instagram.com/chiaraderoberto/

tatws melys will be a new live 20 minute spoken-word and music performance piece putting the voice of Esyllt Angharad Lewis in dialogue with Amie Huckstep’s saxophone and clarinet, in a humorous and surreal exploration of language, its consumption and regurgitation. Esyllt will play with the sounds of her languages, Welsh and English, and use her voice to explore the tensions between them, whilst Amie cuts across and/or adds to this tension with the 'voice' of the saxophone - either accompanying, interrupting, or taking over from the spoken word. Working with liveness and surprise, much of the 'dialogue' between the voice and the saxophone will be improvised, with some parts carefully rehearsed, creating a sense of organised chaos, and the idea that anything may happen, that the energy of the performance could soar or collapse at any point. tatws melys will also include guest vocals from our friends and collaborators.      

Artist bios:  
 
Esyllt is a multidisciplinary artist, working across performance, drawing + printmaking to play with visual & oral language tensions. The guise of performance allows her to play, challenge and undercut tropes and stereotypes usually associated with minority language culture. She won the Eisteddfod’s Ifor Davies Award for her performance Blobus a Phryderon Eraill.

Taking inspiration from Scotland’s landscapes and its wildlife, Amie’s work opens conversations between her voice and the voice of her surrounding world. Her performance plays with the saxophone’s boundaries; live-looping and effects transform the instrument into a conversationalist; field recordings create an expansive sonic landscape.
     
Website/social links
https://www.esylltangharadlewis.com/y-sws-mewn-pinc-1-1-2
https://www.instagram.com/amiehuckstep/
https://www.instagram.com/esylltesylit/

2) François J. Bonnet - Banshee (21:38)
 

2) François J. Bonnet - Banshee 

Banshee is an ear directed towards the edges of the old world, where these infinite fines terrae cut and fractalize into coasts, harbours, fjords, peninsulas and archipelagos. Drawing its raw material from recordings made in the Inner Hebrides, Banshee tightly weaves a fabric where the sonic avatars of fauna, flora and climate merge with the human presence, its tools and its culture. Thus, a small boat cleaving through a loch becomes the voice of the mountains and wilderness, and the howling of the wind on the moors becomes the lament of a Banshee, harbinger of death, messenger of the Other World.
 
The piece unfolds in seven interwoven moments:  
I Subharmonics (An Uaimh Bhinn)
II Seabirds & fiddle (Rubha na h-Eist)
III Impacts & Melancholy (Bodach an Stòrr)
IV Spectre (Quiraing)
V Cailleachan / Corryvreckan
VI Distance (Loch Bracadail)
VII Banshees

(de)touch, a binaural radiophonic composition, is an obvious nod to Jean-Luc Nancy’s project on touch. When Jean-Luc Nancy says that ’[t]ouch belongs to every part of arts because touch belongs to every part of senses,’[1] he is arguing not only for touch’s primacy in every sense, but for the reason for its primacy in senses; being a movement in and of itself (‘when the movement stops, touch stops’), touch is the process, performance in other words, of every sense. As such, the being and the becoming of touch are inevitably fused. Every sense, including listening which is hearing’s becoming, performs touch as it creates and activates the ontologies of every sense. But how exactly does touch work here in listening? How does it move or perform? What does it produce and what are the consequences for listening? What do we ever get to know things that we listen to? Do we ever get to know things by listening?
 
With (de)touch, I would like to tackle these questions, first by rendering sonic touch-images, if you will, of (intuitively speaking) and about (rationally or inferentially speaking) listening-with. Here the ontologies of listening-with are taking cues from Nancy’s being-with, which he develops from Heidegger’s Dasein whose existential condition is being-with others [2], as well as his analysis of the very act of listening [3]. Compositionally speaking, these are to be explored through creating various kinds of listening-with-others and observing the gaps and spaces, and the push-pull forces that these will engender. Secondly, with (de)touch, I aim to emphasise that listening as touch acts on the in-between space of limit and possibility[4], a distance or proximity that Nancy said touch needs to exist, and that it is precisely in this way listening touches—at the limit or on the surface of—what we can posit as knowing. Accordingly, equal attention is paid to the negative movement of listening as touch (hence the prefix, de-).

(de)touch explores listening as touch and (de)touch in the composition with various excerpts from the field recording that I have done for Futures of Listening: Water Knowledge from Two Cities. Here, the structure has a loose two part-form. I hope that this two-part structure will give much emphasis on the process and effect of each movement of listening: touch and de-touch.
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:

Suk-Jun Kim is a South Korean composer, sound artist and researcher/professor at the University of Aberdeen, Scotland, UK. He has published two books, Humming (The Study of Sound) by Bloomsbury and Hasla by Kehrer Verlag Heidelberg. His research focuses on sound studies, immersive sound, phenomenological approaches to listening, electroacoustic music, space and place. Having been awarded first prizes in international electronic compositions, Kim was a resident composer at Artists-in-Berlin, DAAD, Germany (2009) and a Leverhulme visiting fellow at the University of Aberdeen (2010). In 2023, he initiated a large-scale sound studies and sound art project Futures of Listening by collaborating with the National Asian Culture Center (ACC) in South Korea and has led its Sound Lab Team. Between 2023-24, He was the Principal Investigator for Futures of Listening: Water Knowledge from Two Cities, an ISPF ODA challenge-oriented research project funded by the British Academy between 2024-2026.

http://reddoorsound.com/

LAS GRITAS (2024) were collective sonorous practices of resistance, generated by the so-called indigenous people, as a way of facing the colonising advance. Their reception was incompatible with the audibility of the Iberians ones and their purpose was to produce a vibration in defence. These phenomena and the ways in which sound is used for this purpose are described by Dr. Mayra Estévez Trujillo as the colonial regime or pattern of sonority. The radio plays a key role in colonial history and my work reformulates this sound practice, generated by people accustomed to war, in societies that used to live around masculine patriarchal notions of possession and destruction, in order to create a feminine narration as an anti-temporal refuge. 
 
Artistic Credits
DIRECTOR: Rocío Calvo. 
FIELD RECORDINGS AND SOUND DESIGN: Rocío Calvo. 
MUSICAL COMPOSITION, MIXING, AND EDITING: Paul Husky. 
MASTERING: ROMAIN. M 
RECORDING LOCATIONS: Nauta, Iquitos, Cusco, Lima, Amazon River.    
 
Artist bio:   Rocío Calvo Corchero (Carcaboso, Cáceres, Spain, 1973). Her work focuses on radio broadcasting, writing and sound dramaturgy. With a literary and scenic background, she is currently researching on writing, transmission and movement through interventions in public space.       

Website/social links  http://www.rociocalvo.org

1 Francis Heery - The Sanctified Microbes of Kiltormer (17:35)    
2 Marjorie Van Halteren - Days are Short (2:45)  
3 Hector Bravo Benard - In the Fog (10:58)      
4 Szem - LIVE RECORDING - Gong Chengdu China October 2025 (6:16)    
5 Jason Kerley – Ages (20:00)    
6 Aurore Juvenelle - Toc toc toc (1:41)    

1) Francis Heery - The Sanctified Microbes of Kiltormer

In a field near the graveyard of the East Galway village of Kiltormer is a holy well. I visited the well in October 2021 and recorded an impulse response from inside its walls. I used this impulse to create convolution reverb that recreates the sonic imprint of the well and composed this piece as a way of showcasing the well's acoustic charater. So the composition is a portrait of an en-magicked version of the well. Even though the reverb recreates the well's character above the surface of the water, I imagined the music as a sub-aquatic field recording, documenting a much weirder habitat than expected and capturing the  behaviour of the sanctified lifeforms living there.    

Francis Heery (1980)is an Irish composer, improvisor, sound artist and curator. His music is inspired by science-fiction, psychogeography and post-humanism.
He performs regularly in Berlin and is co-founder of untergrün and Nexus, two monthly concert series dedicated to improvised and experimental music.
His compositions have been performed by groups such as the RTÉ National Symphony Orchestra, Crash Ensemble, Quiet Music Ensemble, JACK quartet and many others. He also produces electronica under the name The Cube of Unknowing, with eight albums released on Fort Evil Fruit, Eiderdown Records and Library Of The Occult
     
https://www.francisheery.com

2) Marjorie Van Halteren - Days are Short
     
A very short piece in response to a prompt from the Junto project,  a group based on Soundcloud.com, led by Marc Weidenbaum in San Francisco since 2012 -where musicians respond to weekly, fast-turnaround assignments to compose, record, and share new music. The idea is to use restraints as a springboard for creativity. This one was: 0629 - Jigsaw Logic / The Assignment: Break a piece of your music and put it back together again. Find out more on the  weekly Disquiet Junto project and how to participate at https://disquiet.com.    

Marjorie Van Halteren was born in Detroit, Michigan. She lived in New York for 20 years, where she was a radio producer. She shared in three Peabody Awards for her work in creative documentary and live radio. Her work has also appeared on Radiophrenia, BBC Radio 3 and 4, WDR, Radio Netherlands, NPR and Studio 360 in the US. She has lived in the North of France since 1992, and is a member of the Muzzix collective in Lille, France. She records, composes, sings, and plays electronic instruments, solo, as well as in collaboration with other musicians.    

http://www.electroacousticalpoeticalsociety.com

3) Hector Bravo Benard - In the Fog    

This work is built up of noisy material produced using chaotic generators, which is then put through a signal processing patch made up of inter-modulated devices with audio and control signal feedback. This results in slowly changing sounds with ringing high frequencies and a dense spectrum. Multiple versions of these processed sounds are layered and arranged in space, resulting in static atmospheres that develop gradually and produce different micro-rhythms and interference patterns, with special emphasis on spatial and timbral counterpoint. There are also synthetic grain clouds that punctuate some of the gestures, as well as spatialized clouds into which the original material is scattered. The title is related to the sonic metaphor of being surrounded by a dense cloud of slowly moving fog.      

Originally from Mexico, studied philosophy and music at UVic, Xenakis Centre, Sonology, KonCon, Codarts, UNAM,  DXARTS, and U. of Birmingham, where he received his Ph.D. He composes sound-based music focusing on timbral and spatial elements, and natural phenomena such as non-linear dynamical systems. His work has been presented internationally at major festivals and conferences such as ICMC, SEAMUS, NYCEMF, MA/IN, BEAST FEaST, and Sonorities, among many others. Lives in the Netherlands and Germany, working as an independent artist, researcher, and music-software developer.    

https://www.hbbenard.com/

4) Szem - LIVE RECORDING - Gong Chengdu China October 2025

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

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

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

5) Jason Kerley – Ages    

A collage of meditation and new age cassette tapes, layered until they become a cacophony of indecipherable self help.
This eventually makes way for an improvised ambient piece.      

Jason Kerley is a motion designer, electronic musician and artist based in Glasgow.

His work is consistently inconsistent, unified by a passion for the importance of challenging convention through play.

Jason has made music for over two decades under a variety of aliases, releasing on a several formats (with varying levels of obsolescence).
Currently Jason performs under his surname and hosts a monthly show on Glasgow's Radio Buena Vida.

https://jasonkerley.work/
https://www.instagram.com/JasonKerley
https://www.instagram.com/Kerley_SND
https://buenavida.co.uk/kerley/

6) Aurore Juvenelle - Toc toc toc
 
Who calls who? Where? And why?
With excerpts from “Die Reise nach Lyon », by Claudia von Alemann, 1981Aurore Juvenelle is a historian, tour guide in Paris, archivist, and radio enthusiast. She has notably produced two radio documentaries about the trials of the terrorist attacks that struck France in 2015 and 2016.
«  Le procès du 13 novembre sur écoute » (Arte Radio) : https://www.arteradio.com/serie/le-proces-du-13-novembre
« Nice, l’audience de trop ? » (France Culture) : https://www.radiofrance.fr/franceculture/podcasts/l-experience/nice-l-audience-de-trop-7174254

As human society continues to soil it's own nest, Bentos sets off on a journey through the debris, reciting impolite monologues and recording whatever sonic attractions fall across his path. 'Lugubrious' eschews a temporal or formal structure and instead seeks to negotiate the hinterland between outrageous solipcism and the interactive peaks of the unconscious. Expect joy and tears in equal measure for are we not the sum of all contradictions?     Artist bio:  These few lines must serve to convey the essence of the artist's long creatively fecund period on the earth. After several failed attempts at an education, he was taken under the Essex wing of the Poor Clares of Perpetual Notion. Slowly, under a reign of blows and religious brutality that would make a stay in Guantanamo Prison seem akin to a Club 18/60 holiday spa experience, he grew bold and struck out into a radiophonic bloom. This direction saw him spend the first of many gruelling hours in the field and the fruits of this practise are rotting delightfully.      https://dietripcomputerdie.bandcamp.com https://www.instagram.com/unhappyfly?igsh=ZnA3MDgzNmwzN3Nx

This mix is a sound collage composed across multiple space-times: a material of resonance and formless formation, signals without fixed origin assembling an imaginary cartography of sound. Deja Vudu operates as a radio-archive-in-motion, where memory is metabolized rather than preserved: fragments circulate, decay, return, and recombine, producing a geography shaped by interference, vibration, and fugitive listening. Emerging through close listening, shared research, and sustained conversations with artists working across experimental sound, radio, and theory, the program treats radio as a porous membrane between archival debris and lived presence. Voices, field recordings, speculative broadcasts, cosmic sonifications, and sonic fiction fold together, unsettling linear chronology and stable authorship. Developed during the 2025 Radio Art Fellowship at Wave Farm, this episode was shaped through exchanges with Kamari Carter, Kadallah Burrowes, Gladstone Deluxe, Celeste Oram, Gregory Whitehead, and Jay Needham, unfolding through in-person encounters and live broadcast on WGXC.     Artist bio:  Fabiana Gibim is an artist, editor, and curator from the border of Brazil and Paraguay, born into the Guarani-Kaiowá Nation. Her work explores sonic art and what she calls “nocturnal archiving,” a practice attuned to listening, memory, and the unseen. She is the co-founder of the São Paulo–based independent press Sobinfluencia and of the Nocturnal Lab, a laboratory for nocturnal and sound investigations. Fabiana has curated exhibitions at Yale’s Beinecke Library, where she was a curatorial fellow. She is researching radical archiving, radio art, and sonic experimentalism and is a Radio Art Fellow at Wave Farm.         https://www.fabianagibim.com/ https://www.instagram.com/unarchivist_antifuture