sun 03

Astro)(Mélange are Shaun Robert sound art musician producer director of Institute For Alien Research label and the infamous C. GlöOmy of MK Ultraterrestrial Broadcasting.   shaunrobert.bandcamp.com    comakultur.bandcamp.com    Institute For Alien Research - Label for sound art, musique concrète and similar operated   by Shaun Robert. ifarmusiqueconcretecompilation.bandcamp.com        MK Ultraterrestrial Broadcasting    ra.co/dj/c-gloomy    archive.org/details/@mk_ultraterrestrial_broadcasting    Obscure dwellers and hi-jacked shows.    Stay safe, stay weird.  Grtzzzzz, Chandor GlöOmy

Title: Radio Concrete 45 (Felixbrodt, Otherscapes, Tape Festival)   Description:   This episode is composed of 3 different live sets: - Studio Recordings with Maya Felixbrodt - Live in Tivon with Dani Williamson (Otherscapes) - Recordings from 2022 Tape Festival (Zimmer TLV) by Yaniv Schonfeld   Short Bio: Maya Felixbrodt - Artistic director, co-founder, moving musician, composer choreographer at Moving Strings Otherscapes is a live Audio-Visual collaboration between Dani Wiliamson and Hagai Izenberg. Light itself is a powerful tool, which when combined with sound, can transform and create new spaces Yaniv Schonfeld is an interdisciplinary artist who creates work that explores the relationship between the artistic experience of the audience, technology, and music.

ANNA FRIZ (Santa Cruz, CA)•AUGUST BLACK (Boulder, CO)•BETSEY BIGGS (Boulder, CO)•FLORENCIA CURCI (Buenos Aires, Argentina)•JEFF ECONOMY (Kingston, NY)•JIMMY GARVER (Leeds, NY)•MAXIMILIAN GOLDFARB (Hudson, NY)•PETER COURTEMANCHE (Vancouver, Canada)•VIRGINIA MANTINIAN (Denver, CO)

The Conduction Series is a collaborative live radio broadcast produced by a group of sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. The group comes together on the first Friday of every month at 4:10pm ET using the web platform Mezcal. Emphasizing LIVE interactivity and media archaeological methods, the series explores themes of migration, feedback, user participation, low-key and on-site interaction with mobile devices, and remote collaboration at scale.

https://conduction.wavefarm.org/

I am on Alnay, a remote island in the foothills of a Northumbrian mountain; an imaginary island in the foothills of a Northumbrian mountain. I walk this island of my imagining. On Midsummers Day I walk its shore. A summer solstice sunwise walk. I walk from southern lowlands to the cliffs of the north. I walk from sun to rain; I walk from shelter to wind and back to shelter. I walk 10 miles; I walk four hours; I walk Alnay’s edge, tracing out its shoreline with sound and poetry.
 
My practice reflects my experience of being in and walking through natural environments. I use sound recording and text to present time, place, distance and movement in the landscape and to provide an opportunity for a listener to consider what it means to move through the landscape at a human pace and scale. Written or spoken and transcribed notes made whilst walking provide the material for poems, often in the form of haiku, and other text works. I have exhibited nationally and internationally and have created radio works for Framework Radio, Resonance EXTRA and Radiophrenia.
 
https://martinpeccles.com

Accompanied by his own field recordings and music, and with spoken contributions by writer and translator Cristina Viti and Iraqi filmmaker Ahmed Yassin Aldaradji, Milo Thesiger–Meacham reads a text of his on the sound of the cicada as "audible heat" in human history and culture. This transcontinental narrative argues that the cicada's sound informs feelings of isolation and vulnerability in the heat of unfamiliar landscapes. Historical and contemporary topics include: the fears of early colonists in Northeastern America, tongue twisters, Socrates's dread of dehydration in Plato's Phaedrus, the hurdy-gurdy, Geronimo's hatred of telegraphy, entomological science, squinting, the slow body language of Clint Eastwood, insects on the film sets of Sergio Leone's Spanish Westerns, 12th-century Moorish poetry, YouTube, military reenactment,the botanist Donald C. Peattie's terror of the inescapable buzz of mortality, and ancient cooking implements.

Milo Thesiger–Meacham is an artist based in London. His work combines sound, musical composition, text, visual material and performance. He has worked on solo and ensemble projects for Tate Modern, The V&A Museum, the European Capital of Culture, London Fashion Week, The Centre for Contemporary Arts Glasgow, Radiophrenia, Cafe Oto, Gaias Garden, Iklectik Art Lab, the European Poetry Festival, Radio Revolten, the IvyNODE/Tierra Vivente residency and symposium, and Echoraeume, among others. He is also the ​manager and curator of Resonance Extra, an international arts radio station.

https://soundcloud.com/milotm
https://vimeo.com/milotm
https://www.instagram.com/_milotm_/

Developed from workshops and a screening at CCA with classes from Glasgow Primary Schools. Helen worked with the groups two years previously on the film We know a better word than happy, 2021, exploring the urgency of outdoor play. Due to covid restrictions then, the children were unable to do sound recording. The piece explores the children’s reaction to the film and questions, two years later, and their hands-on sonic-play with loose-parts, during what is for many their first visit to an art gallery. What is the potential of a circular art practice? Helen McCrorie is an artist based in Scotland, on the Highland fault line, working in film, video and sound. Her practice combines documentary methods with collaborative sound workshops. She films community groups and friends engaged in work, play and ritual, exploring how we connect with each other and our environment through embodied learning.

1) Mute Frequencies - Humming Top Orchestra (7:42)

The Humming Top Orchestra documents an interactive performance conducted at the Open House Festival in London, 2022. The performance took place on Hackney’s Beck Road, a street known for its artistic community. The audience was invited to spin a set of humming tops laid out under a railway bridge. Each of these toys emitted a drone when spun. They were miked up and the signal processed live through a bank of effects. The intention was to keep the humming tops spinning indefinitely, creating a long hypnotic symphony of drones that interacted with the passing trains and incidental street sounds.
           
Mute Frequencies – Ilia and Laura Rogatchevski – are a London based duo working within the intersections of sound, performance and visual media. They have exhibited at various venues in the UK (Dilston Grove, IKLECTIK, DivFuse) and performed at the festivals Radio Revolten, Dronica, Splice, Supernormal and Open House. The project name is both a reference to the inaudible frequencies of the audio spectrum and the electromagnetic frequencies that have the potential to transmit information, such as radio waves.
mutefrequencies.com
 
2) Johnny Dixon - PenintaMES - 4 (3:10)


The new ‘PenintaMES’ form takes 50 lines of Mark E Smith’s lyrics from his songs with The Fall group.

Although clearly derived from the Cento form, invented to give new and abstract life to Homer’s verse, the PenintaMES is a new poetic form specifically and specially invented for Radiophrenia 2023 to play a little with Mark E Smith’s words.

Lines were selected using the FallFriday hashtag on the now defunct Twitter app. Any single quoted line or, if more than one line was quoted then the first or middle line, was used. If no lines were quoted in the tweet a quick glance at the whole song lyrics was enough to take a single line.


A debt of gratitude is owed to The Annotated Fall website for compiling the complete lyrics, and to everyone who has ever tweeted using the FallFriday hashtag. And of course to MES for the endless diversions his work provides. 

Colquhoun & McNeill found themselves locked in an airless cellar in Rotterdam for what seemed like an eternity. Surrounded by a bewildering array of vintage synths that neither artist had any idea how to switch on never mind play and as their incessant bickering lurched ever closer to the daily fistfight Colquhoun babbled gibberish into a broken cassette recorder whilst McNeill attempted to electrolyse his frontal lobe and not for the last time.

The trick seemed to be to record everything all the time as every five hours or so a dying synthesiser would vomit a few seconds of barely salvageable audio, its circuits fried by a decrepit power cable or the overzealous application of some Space Echo. From these fragments they were able to construct a gnostic grammar from which to mimic the machines they consistently tried to destroy. Colquhoun had become particularly skilled in apeing the high end screech of a badly patched ARP 2600.

A guitar lead coils itself slowly into a gordian knot like a snake that can’t quite stomach eating its own head, the calcified circuit board reroutes itself as self-immolating electro-pictograms and in the over-defined flicker and glare of the studio lighting Colquhoun mistakes a toaster for a vintage mic spending yet another wasted afternoon whispering enochian incantations into the heating element.

https://soundcloud.com/colquhoun-mcneill

https://www.instagram.com/a_topography_of_melancholy/

1) Nacho Cordoba Delgado - This Tape Machine Destroys Time 07 - Gianluca Elia - Side A (15:00)
2) Millie Player - 1988 (9:49)
3) Marek Hlavac - Changing Weather 7-dry digital wind (7:15)
4) Sam C Roberts - Be Wary of the Rumbling (6:53)
5) Dorota Blaszczak - Walking and Listening (15:00)
6) Johnny Dixon - IC UR hands (1:03)
7) Vincent Eoppolo - The Ascension (3:33)

1) Nacho Cordoba Delgado - This Tape Machine Destroys Time 07 - Gianluca Elia - Side A

TTMDT is a collection series made from January to December 2012. One tape/digital release per month out on MAGIA. The first 6 were created by MAGIA founder Ignacio Córdoba and the rest by close friends and fellow artists Gianluca Elia (IT/DK), Simon Forchhammer (DK), Michał Biel (PL/DK), bjarkebbbb (DK), Louise Vind Nielsen (GE/DK) and the mysterious Shoji Mariah (BR/JP). All the releases focus on tapes, tape machines and machines as destroyers of time, of perception and of the perception of time. Samples, coding, looping, hacking, field recording, plunderphonics and improvisation share the detritus of Time.

2) Millie Player - 1988    

Silent, solitary walks around a Dunbar beach led me to glowing internet tabs.

Lonely anti-tank blocks sat stubbornly in the emptiness of a Dunbar beach. Silent, solitary walks drove me to glowing internet tabs, as I questioned who had been here before me.

I visited a Bollywood film set, a hermit-saint taking refuge, peeped through 24-hour bird-watching cameras. I learnt that lighthouse keepers no longer exist, instead automated by radios and telephones. I changed between tabs and ideas like radio frequencies. I came to wonder if lighthouses got lonely, if they were now just digital ghosts- listening, trying to find connections too.

Millie Player is a visual artist based in Scotland. Her practice currently exists within a boundary between drawing, metal sculpture and installations of sound and light. She lingers on visualisations of time, mythologizing lives and narratives, pouring perceptions into the past.

‘In all the ways we think about time, we always view it as something external, a measurement devoid of feeling and unconnected to the duration of our bodies. I aim to document the quiet resonance of different existences; my work is a talisman for the temporal suspension I experience.

https://millieplayer.cargo.site/

3) Marek Hlavac - Changing Weather 7: dry digital wind

From a series of digitally modelled speculative soundscapes: machine-learned sound of wind

field recordings were recorded around Marloes, Wales in January 2021 and in Prague, May 2021

Marek Hlavac is sound artist whose work is focused on relation of sound, technology and natural and social environments. His performances, installations, compositions and site-specific projects are based on listening, reflection and speculative reimagining. His live performances often concentrate on relationship between instrument/technological setup and interaction of participants. He does occasional curatorial work (eg. Prague small guerilla style sound-art festival Transient Zones).

http://marekhlavac.net

4) Sam C Roberts - Be Wary of the Rumbling

This work is a narrated sonic story from the fictional future of Eden & Nova, created by Sam C. Roberts. A grizzled old timer, long retired from prospecting the wilderness of New Earth, tells the story of his encounter with a ‘Terraformer’ – a giant, life-creating machine, designed during the final years of Old Earth to give humanity one more chance at survival. A brief glimpse into life on a conceptual, post-apocalyptic planet Earth.

Sam C. Roberts is an experimental composer, sonic artist and musician from the UK. His work seeks to fuse musical complexity, improvisation, field recording and original texts into pieces that span instrumental, abstract-ambient and narrative disciplines. Performances and exhibitions include appearances at Audiograft Festival, RAMA Festival (Aarhus, Denmark), Adelaide Festival (Australia), The Bath Fringe and many other venues and events across the UK and Europe. He has also worked extensively as a freelance bass guitarist and in professional audio since 2004.

http://www.samcroberts.co.uk
http://www.samcroberts.bandcamp.com
http://www.instagram.com/sascrob

5) Dorota Blaszczak - Walking and Listening

I was involved in creating sound for virtual environments where you could notice and hear more when you stop. I went to Copenhagen in 2022 for an exhibition of those Char Davies' VR works in Fotografisk Center. On Sunday morning Jun 05, I recorded a real walk, with a recorder in a belly bag, from the city center, by the hotel to the art gallery. My movement and steps were masking other sounds, only pausing was opening an acoustic horizon for listening and noticing more.

Dorota Blaszczak works in Polish Radio Archives and at Fryderyk Chopin University of Music in Warsaw. She teaches courses in interactive sound, works in sound restoration and preservation, creates audio works and interactive projects.
http://www.dorotablaszczak.pl

6) Johnny Dixon - IC UR hands

7) Vincent Eoppolo - The Ascension

Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. Initially trained as both a Classical and Jazz guitarist, Eoppolo began composing and recording electronic music in the early 1980’s shortly after the development of MIDI (Musical Instrument Digital Interface) and the introduction of affordable home computers and recording equipment. During the 1980-90’s Eoppolo’s fixed media compositions were regularly featured on university new music radio programs in the Philadelphia, Pennsylvania region. Additionally, Eoppolo’s works received recognition in music publications Keyboard Magazine and Computer Music Journal. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America.

Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. Eoppolo refers to his works as sonic cinema and he cites film directors such as Antonioni, Tarkovsky and Fellini as influences.

Eoppolo’s music is available on all major streaming platforms such as Spotify, ITunes, YouTube and Amazon as well as Soundcloud.

TENERIFE (19:08)

Tenerife is the largest of the Canary Islands. The fieldwork centered on the Teide National Park, a spacious territory at 2.000 meters of altitude located around Mount Teide (3.715 meters), the highest elevation in all of Spain and among all the islands in the Atlantic Ocean. This composition explores quiet, small and unnoticed sonic events, some of them inaudible to human ears, that occur throughout the expansive, seemingly immobile volcanic mountain landscape. Exploding retama seeds, ELF/VLF atmospheric noise, ultrasonic vocalizations of bats, and the sounds of insects and avian inhabitants. Furthermore, the piece includes underwater recordings made in the ocean, featuring the calls of the short-finned pilot whale and the Blainville beaked whale.
 
CANARIAS SOUNDWALK explores the sonic ecologies of the Canary Islands archipelago, presenting seven compositions for headphone listening created with environmental sound materials from each of the seven main islands: El Hierro, La Gomera, La Palma, Tenerife, Gran Canaria, Fuerteventura, and Lanzarote.

The project investigates the vitality of more-than-human entities and realities, aiming to promote less anthropocentric ways of being and thinking. Through different listening strategies and audio technologies, the work concentrates on what usually remains hidden or unnoticed, on the limits and thresholds of perception and attention. The project focuses on the voices and audible presence of animal and plant species, air, soil, water, weather, and landscape formations. Furthermore, it acknowledges the affective power of sounds themselves. This project embraces listening as a creative act, a form of attention, and a tool to investigate the world. It attempts to cultivate intimate sensory encounters favouring affectivity over signification and representation.

The project was originally commissioned by the Cultural Office of the Embassy of Spain in the US as a permanent public invisible artwork available at multiple locations in Washington, DC. Additional support from the Arts Council of Northern Ireland (ACNI), the Swedish Arts Grants Committee (Konstnärsnämnden) and the Visby International Centre for Composers (VICC). Fieldwork and production assistance: Palma E. Christian Martínez. Special thanks to Garajonay National Park, Teide National Park, and Timanfaya National Park.

http://pablosanz.info
https://pablosanz.bandcamp.com
https://soundcloud.com/pablosanz
https://www.instagram.com/pabloooosanz/
https://www.facebook.com/pablooosanz

Radiophonic large scale composition, commissioned by the Czech Radio (station Vltava, devoted to classical and modern music) to celebrate 30th anniversary of the Velvet Revolution, non-violent transition of power in what was then Czechoslovakia. After political changes in Poland same transitions in other countries of the Eastern block followed, which changed the world forever, ending communism in Europe, opening space for democratic and economical changes. Premiere broadcast of 30 Novembers, aired by Czech Radio, station Vltava on Wednesday, November 27. This piece contains historic audio footage provided by Czech Radio, documenting these events in Prague.

Dariusz Mazurowski is a Polish electroacoustic music composer and performer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, audio installations and improvised electroacoustic music. Mazurowski’s music has been broadcast by radio stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia.

https://deemstudio.com/

An auto-ethnographic radio essay about emotional emergency

Trying to get a grip on the new emotional states, questioning the imperceptibility of war experience, I realized how discordant it is with the life beyond its borders, trying to invent a framework that would overcome the framing barriers of mass media coverage. A limited number of people were invited to interact in recording sessions at basement locations in Brussels and Berlin. The radio essay combines those basement interactions, documented emotions, reflections on war and the changing perceptions of it, bits of wartime daily life, rapid-perception poetry, imaginary dialogues and conceptual debates.

Contributors, participants and special thanks:

Aditi Srivastava Alessandra Prado Soler Alice Hui-Sheng Chang Anamaria Pravicencu Amin Behmanesh Anna Khvyl Annu Koetter Atelier de création sonore radiophonique Bastien Hidalgo Ruiz Carmelo Ianuzzo Caroline Profanter Constanze Aka CTM Festival Diana Duta Dimitra Kousteridou Emma Courtine Erika Sirola Golo Föllmer Grand Hospice Greg Kieser Hanna Sauer Isabelle Delforge Joachim Glaude Julia Eckhardt Juliette Escudé Kai-Uwe Reinhold  Laetitia Defendini Lilli Ebert Lisette Zeeuw Mamoru Watanabe Marie Marth Van Keirsbilck Matt Thompson Michel Ivor Nir Jacob Q-O2 Sabri Meddeb SEMI SILENT slinko Tanya Ringer Taïca Replansky Tatiana Golub Virgile Loiseau Wouter Hillaert Wynona Ringer

The initial project and the piece was prompted and supported by SEMI SILENT and co-produced together with ACSR and Q-O2. The piece was commissioned by Deutschlandradio Kultur and CTM Festival, in collaboration with the Goethe-Institut, ORF musikprotokoll im steirischen herbst, Ö1 Kunstradio. 

Anna Kravets is a radio and performance artist, journalist and documentary podcast producer based in Kyiv, Ukraine.  In her work, she uses direct and recorded speech, stages recorded interactions, makes sonic experiments with materials, spaces and soundscape.

https://soundcloud.com/anna-kravets

An electronically-treated travelogue collaged from field recordings made in Kyoto, Japan whilst collaborating with the Kyoto-based Antibodies Collective.
 
Steven George Jones is a musician, sound artist and non-fiction filmmaker based in Newport, South Wales. 
 
bosch01.bandcamp.com
http://www.youtube.com/@senojnevets

AI Phantasy (2020) electroacoustic sound composition. 
 
The word Phantasy refers to a phantasy with “Ph” as a state of mind of an infant child during the early stages of development. Phantasies are constructed from internal and external reality, modified by feelings and emotions, and then projected into both real and imaginary objects. On the other hand, Fantasy (with “F”) is a reverie, a daydream, an imagined unreality that anyone can create. We fantasize consciously about future possibilities and fulfillment of our basic needs and wishes. Fantasies may well include elements of the deeper unconscious phantasies.

Kokoras is a Professor of composition and CEMI director at the University of North Texas. Born in Greece, he studied classical guitar and composition in Athens, Greece and York, England; he taught for many years at Aristotle University in Thessaloniki. Kokoras's sound compositions use sound as the only structural unit. His concept of "holophonic musical texture" describes his goal that each independent sound (phonos), contributes equally into the synthesis of the total (holos).

web links: https://www.panayiotiskokroas.com

‘As travellers, our happiest moments always seem to come when we stumble upon one thing while in pursuit of something else.’
(Lawrence Block)

In 2019, while attempting to uncover the forgotten works of Latvian modernist composer Mikos Miskinis, we touched upon his connection with the obscure and obscurist American composer/philosopher Charles Glancer.

At that time we had evidence that the two had met at the celebrated “Ninth International Latvian Song and Dance Festival” in Riga 1938, but were totally unaware that, on at least two occasions, they had collaborated on ground-breaking sound recording projects.

Further research revealed that Miskinis had contributed several recordings to Glancer’s  “Percepio Dei” (1946) – an audacious auditory representation of the all-seeing mind of God (after immaterialist philosopher George Berkeley).

We now know that Glancer, as if to return the favour, sent two magnetic tape sound recordings by mail which became part of Miskinis’ first foray into simultaneous intercontinental composition – “Vienlaicīga Improvizācija” (1948) – 67 years before the first internet jam session.

Through their recently re-discovered correspondence and re-conditioned archive recordings, we share an insight into the minds of these early sound pioneers.

Chris Biddlecombe is a sculptor who creates mixed media installations and performances in the UK and internationally. 
 
David Trouton is a musician with a history of working in theatre, dance and other collaborative art-forms.

Together as No Noise Projects, Chris and David have worked together since 1999 creating audio / sculptural collaborations and theatre. Their sound works often use musical instruments, spoken word, found sounds, electronica and sampling, aligned to multi-media installations. Their projects research historical and contemporary truths, listen to curious logic and lateral whispers, to then go on to create new interpretations, hidden stories and believable fictions.

https://soundcloud.com/colquhoun-mcneill

https://www.instagram.com/colquhoun_mcneill/

drive.google.com/drive/folders/1a8YslY41mF3Ey3Spa0QBwnGzWqyWV6o2

 

Two strangers matched together, their practices intertwine
A blank page
Growing from there
An open cupboard buzzes and humms
Sending snippets in stolen moments
The circle drops, opening a wide and generous hole
Slippage
Talking, passing, exchanging, reasoning, corresponding, joking, transposing
Systems cycle in loops
Accents, language, tones, intonations, cues, pitch, syllables
Prompts
The megalithic Ouroboros fun machine that is Barbie
Touching an elephant
Circles, water, falling sound
Escalators, circular systems, sleep, not sleep
Words that don’t exist
Gleichgewicht
Walking with dizzy spells in saturation
Reflecting, twisting, alternating, translating, modulating, jumping from
On the edges – a Hallwall
Again the elephant, transponder, closed water, eyes
What does it mean to be open and what slips away?
Souffleuse, Echoschwelle, Tonfall
X1, mnemonic, delay
Asking, loops, deathbed
What’s wrong with my eyes, oscillating, brown noise
Pulse
What is an orbit sound
Missing the radiator, voices, vertigo
I could spell it fownetikally/ foʊˈnet̬.ɪ.kəl.i
Meter eater
Mi devas uzi la ŝtuparon

For their Goethe-Institut / Radiophrenia Residency, Nika and Becky will share and intertwine methods and ideas within their individual practices, through field recording, call and response collaging and collaborative audio experimentation. The work will develop from their shared interest of peripheries and the echoes of invisible forces, energies and atmospheres of spaces and events that exist in the in-between.

The piece was developed during a week long residency at CCA funded by the Goethe-Institut Glasgow in collaboration with Radiophrenia. We are grateful for their support.

Becky Šik is an artist filmmaker based in Glasgow whose work spans moving image, installation, sound, music, writing and publishing, often working collaboratively. Their recent moving image work explores the echo, electromagnetic phenomena and technologies as way of understanding the body’s relationship to constructs of time and state.

Becky has presented work across the UK and Internationally, most recently with a film screening at Supernormal festival; Footnotes, a collaborative Radiophrenia broadcast with Sarah Forrest; and the solo exhibition Mercury at Collective Gallery, Edinburgh.

Nika Son studied Fine Arts in Hamburg and has since worked as a musician, artist, film composer, curator and DJ. Influenced by Musique Concre te and the outer space of electronic music, her compositions are built from modified and fragmented field recordings, interwoven with analog synthesis, broken rhythms, rare voice scraps and modulated tape. Sounds of various origin are translated into a very unusual musical language, as if one watches the audible.

She appeared on various labels, such as Mmodemm, Kashual Plastik, VIS, First Terrace Records, TAL, Sky Walking, Anti-Ghost Moon Ray and her own imprint Noctui. Her latest album To Eeyore was released on the label Entr’acte in 2020. A new album is coming this year.

Alongside her solo concerts, she creates radio pieces, video and sound installations, and has collaborated for many years with various companions, most notably with filmmaker and artist Helena Wittmann and musician F#X (Cwelle). In her work as a soundartist for experimental film, she is among other responsible for the score and sound design of Helena Wittmann’s highly acclaimed films DRIFT and Human Flowers of Flesh. For over a decade she hosts regular art and music events at the Golden Pudel Club in Hamburg with various international guests. In 2018 she staged a two-day festival called Eruption, freely based on the musician and video artist Conrad Schnitzler. Since 2019, she co-curates the festival Papiripar together with Felix Kubin and Florian Bräunlich.

http://www.nikason.de

Supported by the Goethe-Institut Glasgow.

This piece is an attempt to record the early stages of how I would go about selecting audio from my archive when trying to find materials to build structured musical compositions. I open up multiple media windows listening for sections that compliment or clash, and I do this often, sometimes not finding anything at all. Transient and rudimentary overlaps, which if please me, are usually then reduced to loops and motifs which I work on further. Here I wanted to pay closer attention to those transitory moments that get whittled and let their rougher edges and simpler forms play out. I live in Glasgow working jobs here and there and working with artists and friends here and there. I primarily work with audio, and most often want to organise that audio into some kind of structured musical form. Using Max/MSP, synthesisers, samplers and recorders–engaging with various user interfaces–has led to an interest in animation, from the tight synchronisation of a Looney Tunes score to methods of displaying audio in generative animations. I’m forever ambivalent about utility and uselessness.

In a tribute to Adam Bohman’s Talking Tapes and id m theft able’s Babb’s Bridge record, Dictaphone enthusiast Joe Posset walks across Newcastle’s Town Moor and into the handsome Exhibition Park to eventually read the graffiti at the local skate park. As he walks Posset describes what he can see and reminisces about the randomness of park life: seeing Don Letts relaxing with a pint, Park Run Anti Vaxxers, Free Jazz and Kurt Schwitters.

Joe Posset is an amateur musician.  His work focuses on the inherent sound properties of cassette tape, dictaphones and language to create indistinct yet evocative soundscapes.  Posset has released almost 100 tapes and CDrs on numerous DIY labels over the last 20 years and is a frequent collaborator in one-off and longer-lasting collaborative projects (see Molar Crime and Papal Bull). Recently his work has explored ideas of accessibility, inclusion and privilege in the underground music scene
 
Bandcamp: https://posset.bandcamp.com/

Premiered at Trans Balkan Express Radio Festival, curated by Žarko Komar aka Feloneezy, as a part of the Mediterranean Futures series on @movement_athens

Field recording gestures and in-situ interventions are gently placed into immersive ambient & drone explorations, while the musical narrative develops around extensive hydrophone recording of the terrigenous sediments and various aquascapes of the Adriatic’s littoral zones. Some of the locations where recordings were taken are the island of Korčula and its surrounding archipelago (islands of Badija & Vrnik), the island of Silba, Neretva River, Dubrovnik old town, and the island of Vis.

Manja Ristić is a violinist, sound artist, poet, curator and researcher active in the fields of electroacoustic and classical music, instrumental improvisation and experimental sound art. Her work blends intuitive composition and field recording practices while focusing on interdisciplinary approaches to acousmatic forms, radio art, and acoustic ecology. Manja Ristić currently works and lives on the island of Korčula, Croatia.

http://manjaristic.blogspot.com
https://manjaristic.bandcamp.com

A series of three individual pieces produced as a commission for Radiophrenia 2023. They have been broadcast separately elsewhere in the schedule but here they can be heard together:

The Degeneration Loops

Directly evoking the work of William Basinksi, The Degeneration Loops are a series of dronescapes using sonic ephemera from queer pornography. Each loop is recorded to tape and subsequently eroded through a deliberate misuse of digitization technology. Jones mines the historicity of the "loop" as an early means of disseminating erotic material, while pondering the innate unknowability of the archive: subject to the shifting attitudes of posterity, ontological dust, spectral intervention, and weaponized erasure.

‘Degeneration Loop 2: Pier Groups’ is a loop from the 1982 gay pornographic film “Pier Groups” which prominently features men cruising the abandoned Pier 52 warehouse of the New York City waterfront.

‘Degeneration Loop 3: My Masters’ is a loop from the 1986 underground gay kink video “My Masters” by Christopher Rage.

Both loops have been subjected to multiple scalpels until the tape can no longer fully function.

End of the Line

End of the Line is an experimental radio play that juxtaposes found audio sourced from gay phone sex hotlines with electronically manipulated recordings of hold music from pharmacies across the USA.

The hotline is an arguably outmoded telecommunication technology that has sculpted and mediated generations of queer desire. After obtaining a free trial to chat with "local guys" via hotline one lonely December evening, I was granted access to the explicit spoken word bios of men seeking erotic company throughout the United States, some of which seemed to be months-if not years-old. This aural landscape felt both divinatory and predicated on the ideologies of cruising; the faceless ghosts of public sex circulating in a feedback loop. This aura of unfulfilled expectation felt similar to the liminal psychogeographies that occur upon experiencing “hold music”; music created to fill a bureaucratic void and intended to ease the anxieties of waiting.

Recorded directly from my phone, I began to document these voices while compiling snippets of hold music from CVS and Walgreens' pharmacies throughout the nation. There were two predominant hold music compositions featured, but depending on the quality of the connection, the recordings were subject to aleatoric distortion and degeneration. These disparate audio sources delineate simultaneously purgatorial and quasi-cartographical spaces, and when in dialogue with each other, create a unique hauntological topography that addresses archival loss, queer longing, the failures of the medical industrial complex, and the occult properties of "being put on hold."

Biography

Kamikaze Jones is an interdisciplinary artist whose work explores extended vocal technique, queer hauntologies, and ritualized erotic transcendence. Utilizing counterarchival impulse and experimental research procedures, Jones endeavors to provide both sonic and ceremonial sanctuary for the ghosts of public sex. His work across mediums has been featured by Anthology Film Archives, Black Mountain College Museum, Montez Press Radio, Wave Farm, The Poetry Project, and Onassis USA. He was a founding member of the poetry and performance collective The Anchoress Syndicate, and the host of the podcast "Pure Garbage: An Oral Examination of John Waters." He is the current arts editor of WUSSY Magazine.

https://www.kamikazejones.com

These works from the last twelve months are all part of my current PhD practice research at London College of Music, University of West London. Using autoethnographic techniques, I'm exploring self-compassionate creative exploration of lived trauma (kinship care family, growing up gay during the AIDS crisis, addiction/abuse).

'Secrets keep us sick and pop music brings us closer' is an audio paper selected for Seismograf's 'Grief' edition.  Radiophrenia broadcast 9pm 24th Aug.

'My story with alcohol' is part of an installation at Open School East's Associate Artist exhibition. Radiophrenia broadcast 11pm 1st September.

'The Haunting' is a music, film and spoken word performance from Naviar Records Haiku Fest at Cafe Oto. Radiophrenia broadcast 9:30pm 3rd September.

In the last three years, leon clowes’ transdisciplinary artworks have featured in, and been commissioned by, Drake Music Scotland/NMC Recordings for pianist Siwan Rhys, BBC News and Sounds podcast, SPILL and Deptford X arts festivals, Frieze Art Fair, Cafe Oto, Squish Rotterdam, Queer Art Projects, Disability Arts Online, Margate Pride, Queer Contemporaries, Datscha Radio Berlin, Britten Pears Arts and Exploding Cinema. Together with Cathy Sloan, and working curatorially with international groups and artists, leon is using lived experience to establish the national Addiction Recovery Arts Network.

http://www.leonclowes.com

1) Emma Bowen - Gates (3:46)
2) Anne Marie Deacy - The Anemoia Experience (18:58)
3) Neural Machine - Plums to People (9:27)
4) Joan Schuman - shimmer & loop (12:46)
5) Johannes Christopher Gerard - The Voices In My Head (4:26)
6) Dushume - Kiln (9:25)

1) Emma Bowen - Gates

This experimental composition combines field recordings, sound objects, musical saw and modular synth.  The hope is to create a soundscape for listeners to project their own narratives and imaginings.

Emma Bowen is an AV artist, facilitator and educator based in Edinburgh, Scotland. She works collaboratively on bespoke learning, social care and AV art projects.

She has made noises with and for other people at; Concurrent, Edinburgh Art Festival, Glasgow International and for Sci-Fi Theatre in Liverpool.

She was awarded an honorary mention and best experimental audio - for two years -  at Black & White Festival Internacional Audiovisual, Portugal. She exhibits and screens work locally and internationally.

http://www.emmagbowen.com

2) Anne Marie Deacy - The Anemoia Experience

We’re dreaming of a Noir-Christmas BUT not as you know it and not when you think it would be. Sound-artist, Anne Marie Deacy, and Torch-singer, Claudia Barton, both having a penchant for another time for which they formed The Anemoia Society.
With a strong ethos in collective listening and collaborative practices a call went out from the society for sonic contributions, especially evoking a time past.

An eve for those who experience Anemoia, ( nostalgia for a past not lived)!  All that is needed is a cosy time-machine ( for its first rendition that was a transmission by Sr.Anne Marie followed by torch songs by Sr. Claudia at the cosy Maureen’s, Cork.).
This piece is The Anemoia Experience where the unlived experiences join the living, through the medium of radio-transmission, our multiple pasts form a nostalgic future.  

The piece introduced by radio hero John Cavanagh, includes donations of sounds sent by the public but mainly The Guesthouse Project. From found sounds, to ads lost in time, voices of the past to the setting of a table we are transported.

Anne Marie Deacy is a sound artist, based in the west of Ireland. Field recording is the foundation of practice, which is embedded in listening as activism. She is interested in the creation of collective sonic works that explore the resonance of materiality, exploring vibration and sound as a series of memory marks. Through this work she is interested in sounding the heard and discreet and exploring through our auditory perception a new sonic dialogue, frequently using transmission as a portal to fuse ideas that opens up our way of listening and questions our sense of time, place and space.
     
https://www.annemariedeacy.com/

3) Neural Machine - Plums to People

Plums to People is our first track exploring the relationship we have with machine/s and the underlying communicative process that is always present when using them. It is a reflection on soundwaves and an investigation about how frequencies interact, influencing each other in time and space, as well as how those frequencies communicates with the human and transform when passing through different bodies.

Neural Machine aims to bomb the boundaries of mainstream ways of performing, producing, engaging, and interacting with art.Our project embodies a  matriarchive of sonic gestures, a critique to the limitless modern art consumption, an experiment of hilarious seriousness, a political manifesto of contemporary times. An answer to our post-industrial societies, where everything is categorised so nothing can uncontrollably exist.

4) Joan Schuman - shimmer & loop

Three sound artists consider the theme of fear and climate collapse in their creative practice. Shimmer is an entanglement; fear is a place to spiral in an audible loop. Voices are joined with VLF radio signals recorded in an extractive Chilean lithium mine. The artists also tangle with writer Paul Kingsnorth’s blank pages and loops where the beastly protagonist is not sinister, rather vigilant. Stories may help us to live on this damaged planet so that we can find solace beyond divisions of fear, hope, solutions. These artists are listening, knowing the cycle will return, like air swirling.

The audio piece shimmer & loop first appeared on Earlid’s Monsters & Ghosts featuring a number of sonic entanglements attuned to uncertainties in a collapsing world. It features the voices of US artists Joan Schuman, Adriene Lilly and James T. Green.

I create radio art, organize sound-makers at Earlid, mentor radio fellows at Wave Farm, and teach sonic culture and production via online courses at The New School for Public Engagement located in New York, working remotely along the coast in Northern California.  

Earlid: https://www.earlid.org/posts/monsters-ghosts/
Joan Schuman: http://www.joanschuman.com

5) Johannes Christopher Gerard - The Voices In My Head

The sound piece focuses on an unseen but real situation. The theme and sounds are based and relate to the voices and sounds I've been hearing in my head almost constantly for many years. Caused by medical and mental issues. It's a simple attempt of a field trip into my head and to approach sound and noise from another level and place.  Under certain circumstances, the voices in my head are capable of creating a temporary space in which things are they behave, act and interact differently, disobeying the normal rules of everyday life

Born 1959 in Cologne, German. Currently lives in The Hague, Netherlands. Interdisciplinary and multimedia artist. In January 2022 participation in the Acoustic Interior Project under the sound artist Anne Wellmer in The Hague, Netherlands. Begins to work and experiment seriously with sound through his participation. Since 2022 work has been presented at New Emergences of the Institute of Sonology, Concert Hall Royal Conservatory Royal, The Hague, Netherlands. KAOS 2022, Kranj, Slovenia.“Listing to a Brave New World”, Cinema Museum, Istanbul, Turkey, Centro Negra, AADK SP Blanca, Murcia, Spain. URBANSONIC by Cold Bank, Milan, Italy and CJSW Radio, Calgary, AB, Canada

https://www.johannesgerard.com/english/sound/

6) Dushume - Kiln

Discarded innards from previous unwanted recorded materials are unearthed, grilled, and seared together in an audio claypot. Kiln is a sonic chamber of intermittent and continuous deep bass and insulated harsh noise.

Amit D Patel, aka Dushume, is an experimental noise and sound artist, influenced by Asian underground music and DJ culture. His work focuses on performing and improvising with purpose built do-it-yourself instruments, and recording these instruments incorporating looping, re-mixing and re-editing techniques. Lack and loss of control are central to his work. He has a PhD in Music, “Studio Bench: the DIY nomad and Noise Selector” (2019), from the Music, Technology and Innovation Research Centre, De Montfort University, Leicester, UK. He is a member of the Sound/Image Research group at the University of Greenwich, London, and Principal Investigator for the AHRC Research Grant “Exploring Cultural Diversity in Experimental Sound” (2021-23)

http://www.dushume.co.uk
instagram.com/dushume

Hyacinth is made from recordings taken during a solo trip to Palma de Mallorca immediately after the breakdown of a long term relationship. Layered diaristic voices navigate states of heartbreak against the subtle sounds of a package holiday that was meant for two. A later monologue conceived back home reflects on recent freedoms and conflictions felt around gender, identification and desire. Conor Baird is a Scottish artist embracing dramaturgies in performance art, film, theatre, sound and writing. Their work unravels personal truths, tensions and nostalgias, reviving them back into an intimate presence. He also hosts Obsession Has Memory - a podcast where guests revisit cultural obsessions from their adolescence and the stories around them.

High-frequency trading (HFT) uses complex algorithms to analyse multiple markets and execute orders. In trading vocabulary a signal is a pattern of data that influences these algorithms, inciting them to buy or sell shares or cancel an order. In this business each microsecond is crucial, so finding the fastest and most direct paths between the main exchanges is essential. To transmit this data faster than a blink of an eye, an almost forgotten and surprisingly fast technology is used, radio waves.

Since 2016 DinahBird & Jean-Philippe Renoult have been mapping these radio routes by finding the pylons, frequencies and relay links that transmit High-frequency trading data back and forth, in loops that cover the Earth. 

The core material of their HIGH FREQUENCY FEEDBACK composition explores recordings of the Super High Frequency radio waves, signal noise and field recording captured at the base of antennas between Chicago and New York, London and Frankfurt

HIGH FREQUENCY FEEDBACK (15:36) is part of the composite project Antenna Gods, an extract from the forthcomming cassette & digital edition GOLD LINES by Bird & Renoult, out soon on Gruenrekorder label.
 
http://bird-renoult.net/

TTMDT is a collection series made from January to December 2012. One tape/digital release per month out on MAGIA. The first 6 were created by MAGIA founder Ignacio Córdoba and the rest by close friends and fellow artists Gianluca Elia (IT/DK), Simon Forchhammer (DK), Michał Biel (PL/DK), bjarkebbbb (DK), Louise Vind Nielsen (GE/DK) and the mysterious Shoji Mariah (BR/JP). All the releases focus on tapes, tape machines and machines as destroyers of time, of perception and of the perception of time. Samples, coding, looping, hacking, field recording, plunderphonics and improvisation share the detritus of Time.

TTMDT is a collection series made from January to December 2012. One tape/digital release per month out on MAGIA. The first 6 were created by MAGIA founder Ignacio Córdoba and the rest by close friends and fellow artists Gianluca Elia (IT/DK), Simon Forchhammer (DK), Michał Biel (PL/DK), bjarkebbbb (DK), Louise Vind Nielsen (GE/DK) and the mysterious Shoji Mariah (BR/JP). All the releases focus on tapes, tape machines and machines as destroyers of time, of perception and of the perception of time. Samples, coding, looping, hacking, field recording, plunderphonics and improvisation share the detritus of Time.